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No Wonder presents the divinely talented vocalist, Judy Wexler and a cadre of L.A. A-listers in a collection of the tried and true, some outliers, and other brilliant choices in an overall bravura performance.
The title tune launches the session with a straight cover of Brazilian singer/composer, Luciana Souza’s poetic tune. Energetic, exceptionally polyrhythmic with tempo alterations, Wexler is definitely on her game here. She exhibits acrobatic vocal flair throughout and her scat unison with tenor saxophonist, Danny Janklow (who offers an engaging solo) is an exceptional touch. Steve Hass’s set work is an absolute master class.
Michel Legrand’s The Summer Knows from The Summer of ‘42 (Warner Brothers, 1971) has been recorded many times. The
take here is darker, developing from a subdued mood laid down by bassist Gabe
Davis before Wexler floats over the lyrics with fine dynamic shadings. This is
a dramatic effort with pauses that add tension. Janklow again offers an involved
solo. The minor-major unresolved final chord reinforces the overall theme and denouement
of the original cinema source.
The tone turns swinging with an
up-tempo take on You Stepped Out of a Dream from the pen of Ignacio Herb Brown
and Gus Kahn. Wexler delivers it solidly over the horns and lays things out
before they deliver a fiery ensemble statement. The “show band”-like arrangement
here relies heavily on the horns with Wexler’s talents and versatility a bit
underutilized.
The shorter-running Broadway musical Greenwillow produced Never Will I Marry, a selection covered by artists including
Bing Crosby, Barbra Streisand, Judy Garland and, as jazz aficionados know, by
Nancy Wilson and Cannonball Adderley on their heralded collaboration. Here it is
an active presentation where pianist Colella presents an exotic ride over
Hass’ textures. Wexler is exceptionally engaged and emphatic throughout.
Wish You Were Here is an impressionistic
take that continues the rhythmically intense vibe that threads through the
album. Wexler floats and delivers the poetry over the energetic underbed.
Guitarist Larry Koonse offers a fine solo with pianist Colella and drummer Hass
interplaying. The repetitive nature of the title lyric demos Wexler’s
consistency. The fadeout with Wexler’s call and Koonse’s responses is a fine
touch.
Over her twenty-plus year career,
Wexler has been an artist with a razor-keen perspective and an abiding trust in
her musical instincts. She has always surrounded her petite frame and inviting
pipes with heavyweight musicians, arrangements, and well-curated material. What
is rather unique here, with this her seventh album, is the fact that Wexler’s voice
appears (and appeals) to this ear as more seasoned and resonant with deeper
overtones. That development, if I am indeed accurate, may portend even more
interesting and diverse projects in the future for this artist.
Firm Roots (are what you need to win) is a straight-ahead firestorm. The confident Cedar Walton melody and Kitty
Margolis’ added lyrics is a gasser. Wexler, a hipster at heart, enthusiastically
lays things down rubato before things ignite. Trumpeter Jay Jennings stretches
out spewing an intense bop-ish solo. This is very much a highlight track.
I Wish You Love, originally a 1940s' French love song with English lyrics later added by composer Albert Beach, was
introduced by Keely Smith in 1957, with Gloria Lynne’s crossover hit version
appearing in 1962. Wexler’s cover is a swinging, faster-than-ballad take. The
horns respond give-and-take with Wexler who scats along with them. Janklow and
Jennings each send up invigorating solos.
Leonard Cohen’s Dance Me to the End
of Love has an extremely poignant genesis as it was inspired to him by the Nazi
death camp Jewish musicians who played music as their fellow Jews were marched
to their deaths. The vibe here is indeed Klezmer – actually known by those
musicians as a todestango (a “death tango”) with Bob Sheppard’s clarinet
and Larry Koonse offering tasteful solos over the exotic bed. Wexler covers the
selection without overbearing. The abrupt ending of this brilliant track is a starkly
evident production device.
Victor Young and Jack Elliott’s Weaver
of Dreams has been recorded by Nat 'King' Cole, Cannonball Adderley, and many
others primarily as a ballad. Here, it
is a lively and upbeat take, a classic light swinger with a Have You Me Miss
Jones? vibe. Wexler is in her wheelhouse, dancing lithely over the lyrics. Danny
Janklow’s flute mirrors Wexler’s leaps and bounds. A superb track.
The ballad closer, The Night We
Called It a Day offers Wexler and pianist Colella up front before time runs out.
Dramatic and filled with pathos, Wexler tells the heartfelt tale. The tune has
a subtle swing to it as Colella solos. Things close out with Wexler shading her
dynamics to fade.
No Wonder is an expansive musical buffet,
superbly performed and produced. It is intelligent, honest, and artistically
fulfilling. Given the artist and musicians involved, it lives up to its
moniker. Nick Mondello
Produced by Judy Wexler & Jeff Colella
Production consultant: Barbara Brighton
Arranged by Jeff Colella (2-7, 9-12), Luciana Souza (1) (“No Wonder” original
soli by Jeff Colella), Brian Swartz (8)
Publicist: Mouthpiece Music
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