DONNA LEWIS - Brand New Day
Whirlwind Recordings - WR4688
Donna Lewis - vocals; Ethan Iverson - piano; Reid Anderson - bass; Dave King -drums; Ron Affif - guitar (Walk On By); David Torn - electric guitar textures (Crazy, Brand New Day, Helpless, Amie, Walk On By)
There’s something of an established tradition of pop acts crossing over into jazz territory, from Rod Stewart and Robbie Williams to Lady Gaga and Bryan Ferry. It’s a way of adding depth to an artist’s profile, and consolidating their ‘classic’ status; the preferred repertoire is usually the Great American Songbook, interpreted in the familiar Sinatra swinging big band style, stepping back to a time before a seemingly unbridgeable gap opened up between jazz and popular music. Equally, many contemporary jazz artists from Esbjorn Svensson onwards have attempted to bridge the gap from their end of the spectrum, by re-working contemporary pop material in a credibly modern jazz style.
Donna Lewis has subverted expectations somewhat by by coming from the left field. Those who remember her massive hit of the mid-nineties, ‘I Love You Always Forever’, and have noted her relative inactivity since, might be forgiven for expecting a set of swinging standards aimed squarely at a re-introducing her to safe adult audience. Instead, she’s teamed up with virtuoso musical pranksters the Bad Plus to offer a set of reworkings of pop hits and cultish singer-songwriter classics by the likes of Bowie, Neil Young and Damien Rice. She’s following more in the footsteps of Norah Jones, Melody Gardot or Madeleine Peyroux, but the contributions from her unmistakably quirky backing band, and some adventurous arrangement touches from producer/guitarist David Torn, help to establish a definite personality that’s all her own.
Lewis’ voice is eminently suited to this approach - she plays to her strengths, and her personal, slightly husky delivery establishes an intimate bond with the listener, with no attempt at the kind of gymnastic techniques associated with soul-jazz. If the tastefully executed “Amie” and ‘Helpless’ don’t really deliver too many surprises, her free-form reading of Jobim’s “Waters Of March” make striking use of the Bad Plus's unique trio interactions, and Bowie’s ‘Bring Me The Disco King’ has a beautifully controlled, quiet power and some subtly realised excursions outside the expected. The mood is hushed and intensely personal; jazz fans might have looked for some more flamboyant contributions from the usually irrepressible trio, but their restraint and sympathy allow Lewis's sincerity to shine through on every tune, especially the heart wrenching account of losing a parent to dementia on album closer ‘My Mom’. This is an intriguingly successful collaboration between an unusual team; let’s hope that she continues to explore this fruitful new territory. The supporting UK tour, featuring an equally promising line-up that includes sax supremo Alex Garnett and members of label boss Michael Janisch’s band, should be worth checking out.
Reviewed by Eddie Myer
Whirlwind Recordings - WR4688
Donna Lewis - vocals; Ethan Iverson - piano; Reid Anderson - bass; Dave King -drums; Ron Affif - guitar (Walk On By); David Torn - electric guitar textures (Crazy, Brand New Day, Helpless, Amie, Walk On By)
There’s something of an established tradition of pop acts crossing over into jazz territory, from Rod Stewart and Robbie Williams to Lady Gaga and Bryan Ferry. It’s a way of adding depth to an artist’s profile, and consolidating their ‘classic’ status; the preferred repertoire is usually the Great American Songbook, interpreted in the familiar Sinatra swinging big band style, stepping back to a time before a seemingly unbridgeable gap opened up between jazz and popular music. Equally, many contemporary jazz artists from Esbjorn Svensson onwards have attempted to bridge the gap from their end of the spectrum, by re-working contemporary pop material in a credibly modern jazz style.
Donna Lewis has subverted expectations somewhat by by coming from the left field. Those who remember her massive hit of the mid-nineties, ‘I Love You Always Forever’, and have noted her relative inactivity since, might be forgiven for expecting a set of swinging standards aimed squarely at a re-introducing her to safe adult audience. Instead, she’s teamed up with virtuoso musical pranksters the Bad Plus to offer a set of reworkings of pop hits and cultish singer-songwriter classics by the likes of Bowie, Neil Young and Damien Rice. She’s following more in the footsteps of Norah Jones, Melody Gardot or Madeleine Peyroux, but the contributions from her unmistakably quirky backing band, and some adventurous arrangement touches from producer/guitarist David Torn, help to establish a definite personality that’s all her own.
Lewis’ voice is eminently suited to this approach - she plays to her strengths, and her personal, slightly husky delivery establishes an intimate bond with the listener, with no attempt at the kind of gymnastic techniques associated with soul-jazz. If the tastefully executed “Amie” and ‘Helpless’ don’t really deliver too many surprises, her free-form reading of Jobim’s “Waters Of March” make striking use of the Bad Plus's unique trio interactions, and Bowie’s ‘Bring Me The Disco King’ has a beautifully controlled, quiet power and some subtly realised excursions outside the expected. The mood is hushed and intensely personal; jazz fans might have looked for some more flamboyant contributions from the usually irrepressible trio, but their restraint and sympathy allow Lewis's sincerity to shine through on every tune, especially the heart wrenching account of losing a parent to dementia on album closer ‘My Mom’. This is an intriguingly successful collaboration between an unusual team; let’s hope that she continues to explore this fruitful new territory. The supporting UK tour, featuring an equally promising line-up that includes sax supremo Alex Garnett and members of label boss Michael Janisch’s band, should be worth checking out.
Reviewed by Eddie Myer
