I was taken aback by the title of Esperanza Spalding’s latest offering, Chamber Music Society. So when I sat down to listen, I was expecting a left turn from Spalding’s self-titled jazz solo debut of 2008, which was one of my Top 5 albums of that year.
Three string players are indeed included here, added to Spalding’s doublebasse, and they underpin all of the tunes on the album. But she retains her Latin leanings in a jazz setting, an enchanting fusion of glorious melody, infectious rhythms and inspired musicisianship. All of the string arrangements, meticulously written and executed, are collaborations between Spalding and Gil Goldstein.
The album is also more of a showcase for Spalding’s fluid voice, with its extended range in the upper registers, and her accomplished bass playing for someone so young, 26. Many of her compositions are written sans lyrics, which at once frees the singer to explore more complicated melodies and imbues the songs with her natural scatting ability.
One with lyrics opens the album and is a 3-minute marvel consisting of voice, bass and strings. A delicate, lilting melody embraces lyrics written by the 19th century poet-artist William Blake on Little Fly. From Blake’s Songs Of Experience, it captures just the right touch of simplicity and vulnerability. Continue reading Spalding infuses Latin jazz with strings
Diana Krall’s Quiet Nights, at first, begs for an evening with the lights down low, a bottle of wine and your significant other. But it also plays well for a sunny, sandy beach day with its Brazilian connections. Fully three of the 10 main selections are from the book of Antonio Carlos Jobim, including the title track, and one by Marcos Kostenbader Valle and Paolo Sergio Valle, the wonderful So Nice. Most of the others share a bossa feel.