I thought I’d like to share with you one of my favorite contemporary jazz female composers and vocalists. This is one of my favorite albums of Esperanza’s (when she was in her acoustic phase.)
I first heard Esperanza at the Hollywood Bowl at a jazz festival with my dad and step mom. I mainly went there to hear The Manhattan Transfer and George Benson. There were a lot of diverse groups, from the symphonic hiphop Jazz Mafia, to some latin rhythms, a brass band, etc. Then when my dad told me that Esperanza was playing the upright bass and was singing at the same time, I was very excited to check her albums out in the future! She performed songs from her Esperanza album (which I later got from a friend), and debut songs for a future album called Radio Music Society.
This album uses a traditional jazz ensemble with piano and drums, along with a chamber string ensemble. It starts with the song “Little Fly” which was a William Blake poem set to music. The second track is my favorite, “Knowledge Of Good and Evil,” featuring Gretchen Parlato on backing vocals. What’s cool about Gretchen’s vocals is how it complements the string ensemble. Plus Esperanza’s two vocal solos feature lots of explorations on dynamics, harmonies, extended notes with emotion and control, etc.
After the exciting adventurous pieces, we get to “Wild Is The Wind.” At the time, this was the first version I heard of the song, before checking out Nina Simone’s and David Bowie’s versions. It’s one of my personal favorite vocal performances of Esperanza’s.
“Apple Blossoms” has really nice acoustic guitar, and I love the poetry in her lyrics.
I also enjoy “Winter Sun” with some nice multi-tracked vocal harmonies, and bass solo. I love how she brings the joy in her vocals, especially the ad-libs during the final moments of the song.
This album was also my introduction to Gretchen’s lead vocals on the Jobim cover later in the album. That was the time I became interested in singing.
It’s hard to choose another single Esperanza album, because they gradually evolve to different instrumentation. Her most recent albums (Emily’s D+Evolution and 12 Little Spells) explore an exciting rock edge. My mind thinks of it like this: if you can imagine the wild guitar driven ideas of King Crimson, then add in beautiful melodic vocals à la Joni Mitchell, you’ll find some surprising things. They’re lots of fun!!!
I hope you enjoy this album.
3 comments
What a good choice this album is. Thank you for bringing me back to it and reminding me what a creative force Esperanza Spalding is. I had heard her perform some of this at MJF but neglected to pick up a CD. You have made it abundantly clear why I need to take care of that unfinished business. Another great mix and blend of styles in this case jazz, classical, latin, country / folk, Euro jazz and likely something I am forgetting.
Speaking of influences:
I always thought that much of this album, especially “Little Fly” and “Apple Blossom” was inspired by Luciana Souza. Luciana has been putting poetry to melody since the late 90’s. She is originally from Brazil but Minneapolis has been home for her for as long as I have been listening to her. I recommend Luciana’s jazz versions of Pablo Neruda poems. I think you will quickly pick up on the similarities especially the “poetry in the lyrics”.
Then there is a clear and obvious influence of Bobby McFerrin on her version of Carlos Jobin’s “Inutil Paisagen”. I have been a big fan of McFerrin and would not be at all surprised if some one told me that he arranged this tune.
Less known to many is German bassist Eberhart Weber who I am certain influenced “What a Friend” and “Chacarera”. He is a master of the bass and especially of the fret-less bass. If you like these two songs then I recommend Eberhart Weber’s “Fluid Rustle”. It has similar vocal harmonies laid over Weber’s bass and Gary Burton Vibes. Bill Frizell is also on that Album. So we are talking a really sweet, later 90’s, Euro plus US fusion sound.
The bottom line here is that Esperanza Spalding is a sponge soaking up many influences and many styles of music. And that is what she had in common with Keith Emerson. And that is why I like their music even though so very different in there personal touch. And I am guessing that is why you like their music.
The chain of influence carries us onward with so many links in time,
Bruce
Someone put a track from Emily’s D+Evolution album on Facebook some time ago, and I straight away bought the album plus four others on the strength of that one song. Fantastic!
Going a little off-topic I was delighted to hear your versions of Frank Zappa’s music – especially Montana. Your guitar playing blew me away – especially your unusual (but extremely effective) way of picking the strings.
I first heard about you through YouTube, and I immediately bought ‘Listen’ and ‘Going Somewhere’ from iTunes. My taste in music is similarly wide-ranging, and it’s so refreshing to hear someone else whose music refuses to be pigeon-holed – just like Frank Zappa.
Speaking of Frank Zappa have you tried playing ‘Zomby Woof’? It’s one of the most musically demanding tunes I’ve ever heard, but I’m sure that you would more than do it justice.
I’m so glad that I stumbled upon your music.
Keep doing it!
Pete Randall
Thank you for the nice comment and for purchasing Rachel’s albums. Rachel recorded Zomby Woof for her first live stream. Rachel’s mom and I thought she was only going to demonstrate for about 15 minutes how she uses assistive technologies in the recording process. Well… Rachel had other plans. Two hours later she had recorded all the parts for Zomby Woof and a few hours later she sent me a final mix of the audio.
The final edited video – Zomby Woof: The Video – from Rachel Flowers live stream
The live stream – Rachel Flowers Live Recording Demo – “Zomby Woof” by Frank Zappa
Rachel has several other Frank Zappa covers on her SoundCloud where she posts recordings she has done for fun or to practice different recording and mixing techniques.