Jane Jazz

On his 35th album as a leader, pianist and composer David Benoit changed up his game. Remarkably, 2 in Love is the very first time in his long career that he's worked with a vocalist on an entire album. His chosen collaborator is Jane Monheit, one of the most celebrated mainstream jazz singers. All but one of these ten songs are originals co-written with three different lyricists: Lorraine Feather, Mark Winkler, and Spencer Day. Produced by the pianist, 2 in Love was cut live in the studio – a daunting prospect for most contemporary vocalists. But Monheit is no ordinary singer. Check her delivery on the knotty, Latin-tinged opener "Barcelona Nights." She glides through the changes and imbues her canny phrasing with just a hint of samba, with each articulated syllable entrenched in the song's groove. The sultry passion in her utterance is complemented beautifully by Pat Kelly's nylon-string guitar in the bridge. The title track is a swinging bossa with charging piano and hand percussion. Monheit has demonstrated throughout her career that her grasp on the form is both expert and soulful.

Jane Ira Bloom - Slalom (1988) {Koch Jazz KOC 3-7827-2 rel 1996}
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© 1988, 1996 Koch Jazz / Sony Music | KOC 3-7827-2
Jazz / Contemporary Jazz / Post Bop / Saxophone

Jane Ira Bloom is teamed with pianist Fred Hersch in a quartet that explores a variety of melodic material in unexpected ways. Bloom, one of the top soprano saxophonists around and a creative user of electronics, has a fairly original tone and her improvisations are consistently full of surprises. Check out her transformations of "I Loves You Porgy" and "If I Should Lose You" on this Columbia LP.

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography.

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography.

The self-empowered diva breaks free of earthly restraints to float in an art-jazz universe of her own cut-and-paste design. Inspired perhaps by her pal Holly Cole, Jane Siberry shapes her surprisingly malleable voice and impressionistic lyrics to a variety of free-form moods whipped up by a skilled ensemble. "See The Child"'s hypnotic verbal and musical motifs make it a highlight along with the propulsive "Lovin' Cup" and lovely "Goodbye Sweet Pumpkinhead." It's challenging stuff for her mainstream fans, but that's okay–this is a bold, noteworthy experiment by an artist who remains bound by nothing but the beauty.

Art & Aviation is not only one of Jane Ira Bloom's finest albums, it is also a remarkably successful (and fairly early) attempt to bring electronic influences to bear on acoustic jazz. Bloom's writing is strongly infused with a straight-ahead jazz aesthetic. But she veers left on many cuts, altering her soprano sax sound with live electronics and also having drummer Jerry Granelli double on electro-acoustic percussion. While most tracks still sound very much like jazz, the electronics, while never becoming obtrusive, give everything an unpredictable edge. "Most Distant Galaxy" and the title track are Bloom's most radical departures, but there are electronics aplenty, even on her subtle reworking of Thelonius Monk's "Straight No Chaser"…