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The landmark 1960s Davis quintet album Miles Smiles, the first jazz record Wade ever purchased, served as inspiration for the inventive spirit at play on the hard-hitting, ostinato-driven leadoff track, “I Feel More Like I Do Now.” “Falling Delores,” an epitome of elegance, connects two Wayne Shorter tunes (“Fall” and “Delores”) to an original theme by Wade. The highly original music heard on their latest group effort, True Stories, incorporates themes from Miles Davis, Charles Mingus, Igor Stravinsky and other jazz and classical maestros whose writing has inspired and influenced Wade, an orchestral-level, genre-crossing instrumentalist who has assumed a leadership role in promoting the work of emerging jazz and classical composers via his 8-year-old concert-presenting organization New Music Horizons, and whose tension-free proficiency on electric and upright basses alone has earned the admiration of audiences extending well beyond his home base of New York. Mark Wade has advanced the art of jazz composition by drawing source material directly from the Western canon and spinning it into fodder for the bassist’s progressive-leaning trio with pianist Tim Harrison and drummer Scott Neumann. Its quiet mastery perfectly dims the lights as the curtain comes down.Įditor’s Note: If you’d like to read more about Cécile McLorin Salvant’s Ghost Song, check out her cover article in the March issue of DownBeat. Salvant closes with “Unquiet Grave,” an a cappella turn on this traditional and tragic bluegrass ballad. “Thunderclouds” has the wistful intensity of something written by Norah Jones and sung by Joni Mitchell. “Dead Poplar” sets to music a letter from photographer Alfred Stieglitz to painter Georgia O’Keefe with heart-aching truth. “The World Is Mean,” from Kurt Weill’s Three Penny Opera, pours on pure tongue-in-cheek theater. The jolting “I Lost My Mind” is logically followed by the lovely “Moon Song.” On “Trail Mix,” Salvant gives her voice (not to mention pianists Fortner and Aaron Diehl) a rest as she admirably handles piano duties on this instrumental. Salvant is a thinking person’s singer presenting Ghost Song as a complete work of art, where each song builds to conclusion, like a great play. What starts as a quiet duet between the vocalist and pianist Sullivan Fortner, who is a force unto himself when soloing here, evolves into a tango-ish take featuring a terrific flute solo by Alexa Tarantino with James Chirillo plucking banjo and Keita Ogawa dancing beautifully on percussion. Take, for instance, “Until,” the longest of this 12-tune set. The musicianship throughout is impeccable, sometimes challenging, sometimes soothing, always true to the depth of each song. The beauty of McLorin Salvant and her musical world comes from her curiosity, her depth and the artists she brings into that world. Its title track drips with the blues of love lost: “I cried the day you decided to go/ I cried much more than you’ll ever know.” The break has her dancing with “the ghost of our long lost love,” and if it’s not enough for her to sing those lyrics, she puts a point of finality on the subject with a children’s choir singing the words though the close. Ghost Song is an album packed with such songs of ghosts and dreams just out of reach. The former, a classic ditty from The Wizard Of Oz with avant garde overtones folded into the latter, a slow jam and one of the most beautiful ballads of the 2000s penned by Gregory Porter. From there, she flows into a medley of “Optimistic Voices/No Love Dying,” such an unusual, yet satisfying pairing. When she sings, “How could you leave me/ When I needed to possess you / I hated you / I loved you, too,” she becomes Catherine Earnshaw, the protagonist from Charlotte Brönte’s classic novel of the same name. Take, for instance, Kate Bush’s “Wuthering Heights,” the opening track from Salvant’s new recording Ghost Song on Nonesuch.
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Her wordplay teases, taunts and tests in a way that forces her to not just sing a lyric, but dive into roles with the zeal of a method actor.
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It rises and falls with authority, striking highs that flutter and lows that grumble and roar. There’s an intellectual playfulness to everything that Cécile McLorin Salvant’s velvety voice touches.