Anaïs Reno (vocals, co-producer); Peter Bernstein (guitar); David
Wong (bass); Joe Farnsworth (drums); Juliet Kurtzman (violin on tk 6,
co-producer)
Lady
of the Lavender Mist, the second album from
vocalist Anaïs Reno covers nine tracks, incorporating both well and
lesser-known songs. Backed by a cadre of New York A-List musicians, the album
is an engaging mix of terrific singing, great solos and ace accompaniment.
Les Feuilles Mortes/Autumn Leaves gets the Gallic touch as Reno sings the lyrics first in French rubato before things open up and swing in French and then in English. Peter Bernstein delivers a heavily-chorded and swinging guitar solo, as does bassist, David Wong. It is a wonderful take on the classic and a fine opener. When Lights Are Low gets a gently swinging touch. Reno covers the tune playfully as she slides from note to note. One can tell she’s done listening dues to Sarah, Ella, et al. Bassist David Wong’s pluck and Joe Farnsworth’s brushwork keep things brightly lit.
Steve Allen and Ray Brown’s Gravy Waltz, an under-recorded side, is a great production choice, as is the back and forth between Reno and bassist Wong. Reno glides over the ¾ recipe, giving it a blue sheen. The title selection, Duke Ellington’s Lady of the Lavender Mist, is a voice-guitar take using Reno’s own lyrics. Originally intended as part of an extended Ellington suite, Reno’s cover offers killer, and dare I say, lush dynamic control. A superior track and brilliant production choice.
Reno,
a vocal prodigy, honed her bop chops as a teen, performing at Birdland’s open
mic nights. She recorded her first album, an Ellington-Strayhorn tribute, at age
16. She is a gifted, solidly swinging, and playful voice. Her sense of pace,
time and dynamic expression is outstanding. In a way and beyond her years, Reno
is a throwback to the more deeply resonant and hell-bent, fearless female jazz
vocalists of old. She’s got star presence and it oozes throughout
this session. Peter Bernstein, David Wong and Joe Farnsworth are perfection as
soloists and as melodic, harmonic and rhythmic support. They, like Reno, happen.
Reno and Kurtzman’s production values are outstanding and the overall sound
here is Van Gelder caliber.
I’ll
Remember April gets an interesting take with Reno opening
solo in front of Farnsworth’s pulsing toms before things ignite. Bernstein
offers his best solo of the session, as does Farnsworth. Duke gets another
visit with Take Love Easy. Originally recorded in 1937 by Lena Horne
before Ellington did it in 1939, here Reno and crew swing and are
deeply-pocketed. Reno’s laidback view is hip, sexy and all-around fun. Juliet
Kurtzman’s fine violin is in perfect textural and historical synch – and it is another
great production example. Poinciana is avec le plus grand hommage
to Ahmad Jamal and the classic 1958 recording. Reno covers it sensuously with
Wong channeling Israel Crosby and Farnsworth Verniel Fournier. Bernstein lays
down a fine solo (and sly quote from I’m Glad There Is You). Reno opens Kiss
and Run solo before rhythm joins and things swing hard and fast. She is
effusively swinging both alone and when accompanied. Bernstein’s strings smoke
as the tempo doubles up for his solo. A hearty closer to a terrific session.
Lady
of the Lavender Mist is an outstanding
recording by a tremendously talented artist and team. It has a tangible live
feel and that adds yet another attractive dimension to this outstanding recording. Nick Mondello
Les
Feuilles Mortes/Autumn Leaves; When Lights Are low; Gravy Waltz; Lady of the
Lavender Mist; I’ll Remember April; Take love Easy; Poinciana; ‘Round Midnight;
Kiss and Run.
No comments :
Post a Comment