 Исполнитель: Sylvia Brooks Название альбома: The Arrangement Год выпуска: 2017 Формат файлов: MP3@320K/s Размер архива: 152,3 MB Скачать с: depositfiles
02. Sassy's Blues (7:40)
03. Road Song (6:12)
04. Detour Ahead (7:43)
05. Nefertiti (7:43)
06. Flower Is A Lovesome Thing (7:41)
07. Cherokee (4:50)
With her first two critically acclaimed albums, jazz vocalist Sylvia Brooks introduced a sensuous jazz-noir sound redolent of femme fatales and tough guys, crooked deals and deep-shadowed urban nightscapes. But no great artist wants to be typecast, and with her third album, The Arrangement, she steps out of the mist and fog into the sunlight, where she reveals herself as a singer at home in just about any narrative. An intimate collaboration with an array of brilliant Los Angeles arrangers.
When an artist succeeds in a particular niche she always faces pressure to repeat the performance, but Brooks had no intention of limiting herself. “I wanted to explore different musical styles,” she says. “I love Latin influenced music, big band swing, and rich ballads. I want to explore the whole spectrum musically.”
With a sumptuous velvet-rich voice and emotionally incisive phrasing, Brooks is far too protean a talent to be confined to any particular plotline. In creating The Arrangement, she didn’t just set out to investigate different moods and rhythms. She invited a dazzling cast of writers to craft bespoke charts tailored stylishly for her voice, while giving them casting carte blanche, an act of trust that led to a project marked by a glorious diversity of settings.
Starting with Kim Richmond, who collaborated on her first two albums, she connected with a superlative collection of accompanist/arrangers, including Venezuelan-born pianist Otmaro Ruiz (Dianne Reeves), pianist Jeff Colella (Lou Rawls), French-born pianist Christian Jacob (Tierney Sutton, Betty Buckley), and pianist Quinn Johnson (Steve Tyrell, Diana Ross) “who all have very different styles,” Brooks says. “Quinn is very different from Otmaro, who’s got an entirely different sensibility from Christian.”
Brooks choose the songs, and gave the arrangers two directives. They had to use a combination of brass and reeds, and they could choose the musicians they felt would best serve the direction of the piece, “so it was a real collaboration,” Brooks says. “I wanted them to have complete freedom.”
The album opens with Ruiz’s lush setting for “Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas),” an intoxicating piece that connects Brooks to the Cuban music she heard growing up in Miami. He provides Brooks with another sleek and sensuous Latin vehicle on the oft-interpreted standard “Besame Mucho,” which she delivers as a passionate fever dream accelerated by a simmer tenor sax solo by the reed master Bob Sheppard.
Brooks takes an unexpected left turn as Johnson’s brassy, briskly swinging arrangement transforms Hank Williams’ classic country lament “Cold Cold Heart.” He also proved to be an ideal songwriting collaborator for Brooks, who contributes original lyrics to three beautifully wrought pieces, starting with their slyly funky anthem about mistaken first impressions “What Was I Thinking (The Mirage).” She teamed with the multi award-winning composer Patrick Williams on “Maybe I’m A Fool,” a lovely portrait of romantic self-doubt arranged with rollercoaster energy by Johnson.
Jacob, who wrote the widely hailed score for Clint Eastwood’s 2016 film Sully, collaborated with Brooks on one of the album’s most arrestingly beautiful pieces, “Sweet Surrender,” an intimate piano and voice duet with a graceful melody that needs no embellishments. Another standout track is Jacob’s quietly dramatic setting of Lennon and McCartney’s “Eleanor Rigby,” a rendition so effective and unforgettable as a jazz vehicle (listen to the deft interplay of Jacob’s Fender Rhodes chords and Larry Koonse’s guitar) that one can only marvel at her ingenuity.
Clearly undaunted by legendary artists, Brooks puts her personal stamp on “Guess Who I Saw Today,” the forlorn narrative indelibly linked to Nancy Wilson. She closes the album with an unforgettable version of “Angel Eyes,” a haunting Richmond arrangement that links back to Brooks earlier jazz-noir albums. She’s still a riveting raconteur when it comes to tales of loss and heartbreak, but she’s got a lot of other stories to tell on The Arrangement.
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