It
might be one of the most glaring errors of judgment – or perhaps “Jazz Luck,”
as I call it - that Tierney Sutton has never won a Grammy. She’s been nominated
nine times and those in the know tend not only to relish her work (I certainly
do), but anticipate her recordings and performances with delightful anticipation.
With Spring, her 17th recording, Sutton offers something novel for her – a duo studio recording with longtime associate, Tamir Hendelman. With Spring, the duo presents 12 selections, most drawn from the Songbook, and all dealing with things vernal.
Hendelman’s keys set a pastel-like landscape for
Tierney’s vocal gold before she delivers Gene Lees’ lyrics to the Jobim classic,
Double Rainbow. The interplay here with Sutton and Tamir is expressive
and expansive with Hendelman florid as Sutton displays a fencer’s flair. Simply,
a perfect opener. Vocal and piano raindrops pop here and there before Sutton spins
Jobim’s Waters of March. The pointillistic approach of Sutton’s pips and
pops fit perfectly with those of Norman Gimbel’s words. The tune has been
recorded by many. However, Tierney pens her own unique signature here, being
freed and encouraged by Hendelman’s many-noted urgings.
Paul
Simon’s April, Come She Will, from the second Simon and Garfunkel album,
is a meditation on change. Sutton tells a captivating take. The presentation is
a soothing balm with the vocalist at her expressive, poetic best. Hendelman’s fine
accompaniment charms. This track warrants repeat play. S’Wonderful is a
joyous take on the Gershwins’ classic. A stone swinger, Sutton swirls over the
melody and Hendelman sends up a tasty solo. The scat and keys segment is a joy.
The duo visits Brazil again, covering guitarist/vocalist Dori Caymmi’s Spring.
This is a savvy production choice. Sutton is terrific here and, along with Hendelman’s
keys shimmering in the upper register, make the track a sunshine-filled tone
poem.
Sutton
has always been an alluring voice. Her work with her eponymous ensemble is quite
well-known and admired. Spotlit here with Tamir framing and encouraging, she is
free to embellish at will and express nuance. Her killer phrasing, intonation
and diction prevail. Hendelman is always a stalwart vocalist’s partner. There’s
an artistic skillset to that and the pianist is a Master.
Frank
Loesser’s Spring Will Be a Little Late This Year (ironically, from Broadway’s
Christmas Holiday) has been covered by many female vocalists – Ella,
Sarah, Helen Merrill, Carly Simon, et al. Usually balladic, here it is a lilting
waltz. Upbeat and shimmering, Hendelman offers a fine solo (with a slick quote
from It Could Happen to You). Sutton’s take is positive, enthusiastic
and inviting and her tagging the album’s prior track is the bow on this gift.
The powerhouse collaboration of Michel Legrand the Bergmans brought forth the
evergreen You Must Believe in Spring. In this presentation, the ballad
gets a rubato delivery from the duo. This is a deeply moving take. It is
dramatic without being saccharine. As lyric and melody develop, peak and ebb,
Sutton is enmeshed in lyric depth. Hendelman follows suit superbly. It’s a
brilliant semi-finale. L.O.V.E., Nat King Cole’s big hit is a bonus track
with Sutton scatting over unheard changes. A burner on which Sutton and Tamir
show their speedball chops.
Spring
is an exemplary and at times sublime recording by two masterful artists. It bursts
with all the colors, magnificence and hope of that season. Vivaldi would certainly
approve. Nick Mondello
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