The Lost And Found (ObliqSound)
Gretchen Parlato
Released April 5, 2011
Jazzwise Top 10 Releases of 2011
Napster 2011 Jazz Critics Poll Vocal Album of the Year
JazzFM Best Album of the Year
YouTube:
https://music.youtube.com/watch?v=qvKLH8N5LKk&list=OLAK5uy_n8v3lFMJE4xxb_j3ytrFHjvjLXZtNeDII
Spotify:
https://open.spotify.com/album/0zf7XCW761Gswh5sxQBduz?si=ppk2eKRmTSmKR7Tc_ttiSw
About:
Gretchen Parlato’s 2009 sophomore
breakthrough, In a Dream, signaled the arrival of an incredibly inventive
modern jazz singer. Her follow-up, The Lost and Found, demonstrates that
she has staying power. In a Dream garnered international acclaim with
Billboard magazine hailing it as “the most alluring jazz vocal album of 2009”;
it also made it onto the top year-end polls for Jazz Times, the Boston Globe,
the Village Voice and NPR. The Lost and Found shows immediate weight
and intensity, exposing a greater dynamic range. “I feel like I stepped out of
my own way and allowed myself to be more revealing and vulnerable through the
music,” reflects Parlato.
Revealing a seamless, crystalline, and more importantly, personal voice,
Parlato says that the overall theme of The Lost and Found is about
accepting opposition and embracing the ebbs and flows of life. “One day we may
think we’ve found all the answers, and then something suddenly happens that
makes us feel completely lost as though nothing makes sense. This is life.
Accepting that we are always in transition without attaching a judgment to the
experience is freeing. We are always the lost and found.”
An alumni of the Thelonious Monk Institute, Parlato has been turning heads ever
since she won the 2004 Thelonious Monk Institute International Vocal
Competition with which she displayed a musical individuality loaded with
paradoxical powers. Her sultry, intriguing voice and unique, rhythmically agile
phrasing came with inescapable centripetal force; the more intimate and
understated she sang, the more she drew listeners in. Since then she has toured
worldwide to sold out audiences with BBC Radio proclaiming, “Star over London…A
star is born!” Her originality captivates musicians as well, prompting
invitations to appear on over 50 recordings with the likes of Terence
Blanchard, Kenny Barron, Terri Lynn Carrington and Esperanza Spalding. Her
breathtaking performances have been captured on television in Europe and Japan
and she has become a sought after clinician on vocal styling.
On her third disc, Parlato surrounds herself with a collective of kindred
spirits whose tight knit sound has been cultivated through years of performing
and recording together. She marshaled GRAMMY nominated pianist Taylor Eigsti,
bassist Derrick Hodge and drummer Kendrick Scott as her main band mates with
guest appearances from tenor saxophonist Dayna Stephens and bassist, Alan
Hampton, who makes a stellar turn featured as a singer and guitarist. Leaders
in their own right, this band is among the most heralded of a young, new wave
in jazz. “I adore these musicians, not only for what they do, but also for who
they are,” Parlato says. “We couldn’t have had a more supportive, productive
energy recording this album.” That energy allowed her to reach subliminal
musical heights; one that truly engages in delightful, often adventurous
musical conversations that tickle the mind, warms the heart and moves the body.
“They all contributed so much to the project, in the end it truly felt like a
collaborative effort.”
“Collaborative effort” is no overstatement. The Lost and Found sees
Parlato emerging as a thoughtful composer and lyricist. In fact, she wrote
lyrics to several compositions such as Eigsti’s haunting “Without a Sound;”
trumpeter Ambrose Akinmusire’s plaintive “Henya,” and Stephens’ suspenseful
title track. In a duet on Hampton’s “Still,” Gretchen’s gentle musing about
compassion and forgiveness is made more poignant by his raw vocals. “Alan
created such a meditative and deceptively simple groove I wanted to write
lyrics that were like a mantra. Something that in its repetition becomes
extremely powerful. What better theme than love?” She also composed the music and
wrote the lyrics for the evocative bossa-nova tinged, “Winter Wind,” the
hopeful “How We Love,” the sensual “Better Than” and the hypnotic “Circling”
that contains verses that typify the entire disc’s meditations on light and
darkness. “‘Circling’ plays with the idea of cycles in our lives,” explains
Parlato. “The ones we have no control over like birth and death as opposed to
the cycles we do control, behavior patterns that we get ourselves into.”
Pianist and GRAMMY nominated composer Robert Glasper came on board as associate
producer. “I love working with Robert, not only in composing, but in
reharmonizing and arranging. There is such an immense love and respect between
all of the musicians and Robert knows exactly what to do and say to keep
everyone inspired.”
On The Lost and Found, Parlato further develops her knack for reinventing
intriguing R&B songs with her daring yet delectable makeover of “All That I
Can Say,” a Mary J. Blige tune, penned by Lauryn Hill, and Simply Red’s
“Holding Back the Years.” The latter track, which serves as the album’s opener,
begins with Scott laying down an infectious R&B groove. Glasper can be
heard in the background, vibing to the beat as the music quickly fades into the
full ensemble (recorded by Parlato on her iPhone during a rehearsal).
With both tracks, Parlato and her band retain the soulful essence of the songs
while steering far enough so that they don’t delve into treacle mimicry.
“Gretchen doesn’t try to be anything she’s not. Every remake is an honest one,”
Glasper says. “She’s always herself.” The disc also features the jaunty “Me and
You,” from singer/songwriter Josh Mease and a sterling Glasper/Parlato
rearrangement of Bill Evans’ “Blue in Green” with lyrics by Meredith
D’Ambrosio.
Gretchen Parlato is on an exploration, which leads the conversation among the
band and makes for unexpected treasures. Inspired by Wayne Shorter, one of her
mentors, she wrote lyrics to his classic ’60s jazz composition “Juju.” The
interaction between Gretchen and saxophonist Stephens showcases her ability to
use her voice as an instrument-blending with the horn while adding
counterpoints. On “Without A Sound,” her haunting vocals seem to add another
dimension to the remarkably textured harmony already created by Hodge layering
3 parts using only his electric bass. And on one of the disc’s most revealing
moments, the singer shows her love for Brazilian music on Paulinho da Viola’s
“Alo Alo.” A solo rendition, Parlato layers all of the percussion and sings all
the vocals.
With The Lost and Found, Parlato has delivered a powerful testament to the
beauty of space and simplicity. “I’ve become more interested in finding not
only a higher, but a deeper level and connection in music. And this seems to be
done by shedding everything, and getting right to the heart and core.”
Track Listing:
1. Holding Back the Years (Mike Hucknall) 3:46
2. Winter Wind (Gretchen Parlato) 5:30
3. How We Love (Gretchen Parlato) 5:24
4. Juju (Gretchen Parlato / Wayne Shorter) 6:01
5. Still (Alan Hampton / Gretchen Parlato) 3:03
6. Better Than (Gretchen Parlato) 6:13
7. Alô, Alô 1:54
8. Circling (Gretchen Parlato) 4:59
9. Henya (Gretchen Parlato) 4:57
10. In a Dream Remix (Robert Glasper / Gretchen Parlato) 1:45
11. All That I Can Say 3:17
12. Me and You 3:23
13. Blue in Green 4:11
14. The Lost and Found (Gretchen Parlato / Dayna Stephens) 4:39
15. Without a Sound (Taylor Eigsti / Gretchen Parlato) 3:19
Personnel:
Gretchen Parlato: vocals
Taylor Eigisti: piano, rhodes, hammond B3 organ
Derrick Hodge: upright and electric bass
Kendrick Scott: drums
Dayna Stephens: saxophone (4, 14)
Alan Hampton: vocals, guitar (5)
Robert Glasper: rhodes (10)
Recorded August 19-21, 2010, at Sear Sound, by Chris Allen
Produced by Gretchen Parlato
Co-produced by Robert Glasper
Mixed by Dave Darlington
Mastered by Nathan James
Photography: David Bartolomi
Design: Maude Guély
Review:
Gretchen Parlato is emerging as the
most important jazz singer since Cassandra Wilson. Her
vocal approach is so unique and her repertoire so eclectic that she stands to
create a jazz vocal genre unto herself. After placing first in the 2004 Thelonious Monk International Jazz
Vocals Competition, Parlato released her eponymous debut,
self-produced, in 2005. Warmly received, she followed her freshman effort up in
2009 with In a Dream (Obliqsound),
her critical gravity growing.
And those are just Parlato’s recordings as
leader. She has been a featured vocalist on many records, including David
Binney’s Greylen
Epicenter (Mythology, 2010) and Esperanza Spalding’s Chamber Music Society (Concord
Music Group, 2010).
Much anticipated, The Lost and Found appears,
revealing Parlato’s sonic evolution toward an end very different from Wilson’s.
Where Wilson has intently explored the earthy, organic nature of the music she
sings, Parlato has entered the laboratory to distill her music to its bare
essence: a whisper, a scent, an echo, a suggestion. Her light, no-pressure
approach better reveals the harmonic metaphysics of the songs she sings,
whether originals or standards.
The Lost and
Found draws much from her two
previous releases. Parlato’s Wayne Shorter fixation that prompted her to include the
saxophonist’s “Juju/Footprints” medley on her first recording, and
“ESP” on In A
Dream, reprises “Juju” alone on The Lost and Found. The
fondness that Parlato has for impressionistic music manifests itself in her
version of Miles Davis/Bill Evans “Blue in Green,” and a cover of Simply
Red’s “Holding Back The Years,” rendered as diaphanous mist,
Parlato’s light voice perfect for the role.
The singer’s reprise of
“Juju,” possesses a crystalline translucence, made acute by Dayna Stephens’ wandering saxophone and pianist Taylor Eigsti’s run-rampant sonic investigations. Her soft voice
provides stark contrast to its support, making for an edgy affair all the way
around. Lauren Hill’s “All That I Can Say,” a successful vehicle for
Mary J. Blige, proves equally successful for Parlato, who imparts a lighter
contemporary vibe to the song.
Parlato is a young and vibrant artist, from whom
we are only beginning to hear, and whose future is bright, indeed.
C. Michael Bailey (All About Jazz)
