Reviews

Music, Books, DVD Reviews

By Laurence Bass

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Beyond the Image
Esperanza Spalding’s Self-Titled New Release Outshines the Hype

Devoted fans caught a glimpse of Esperanza Spalding’s network television debut on The Late Show with David Letterman. Throngs of YouTube loyalists watch videos of her charming frenzied audiences in Philadelphia, Montreal, and Copenhagen. Music outlets have extensive waiting lists for her album. Radio personalities crown the virtuoso bassist the new “hope” of the jazz world. Mass appeal of this magnitude would make some artists fold under pressure, or turn a quiet personality into a monstrous ego. Yet, distinguishing the power of her music from the hype surrounding her image allows Esperanza Spalding to keep it all in perspective.

“I have an image that works right now and that has nothing to do with my music,” Spalding says. “The interest may be for my look, my face, or my story, but the music is something else. One day this attention will be solely for my music and that day I’ll be grateful.” Granted, her looks may force many to do a double take, but her dazzling array of skills as a band leader keeps the faithful in attendance at her shows. Nowhere was this more evident than at the 2008 J&R Musicfest in New York.

The open-aired Gramercy Park venue in Manhattan was packed with fans holding copies of her album. Spalding’s vocal range, at times, mirrored her double bass or rose to a siren-like tone that echoed above the bustling Friday afternoon traffic across the Brooklyn Bridge. As she performed Nina Simone’s ‘Wild is the Wind’, she was hunched over, eyes closed, practically amalgamated with her double bass. Chord after chord, she gracefully played a flawless solo that left the crowd awe-struck.

The energy of her live shows reflects her systematic preparation in the studio. “Coming into it, I was so adamant about a vision and a concept for the sound,” Spalding recollects. “I wanted to make sure the compilation of songs, and the way that we arranged and played them, was something that people from all different musical backgrounds and tastes would be able to appreciate.”

Esperanza is a vibrant set of compositions the band played during its lives sets. “Out of the 50-60 songs we’ve developed over the year, it was basically editing the 12 we wanted that fit with the sound we were trying to go for,” Spalding explains. Prior to recording, Spalding dealt with the questions from management and the record label concerned with the project’s theme, image, and overall sound. “I think one reason why they were onboard with what I’m doing is because a lot of it is already done,” she recalls. “I spend a great deal of time trying to cultivate an objective with my music and they know that I am always working to try and improve that.” Her album took a grand total of eight days - five recording and three mixing - to complete. This may sound like the makings of a hurried product, but each piece is well-produced without missing a single moment of greatness.

The album opens with her interpretation of Milton Nascimento’s ‘Ponta de Areia’ from his album Minas and Wayne Shorter’s classic Native Dancer. Nascimento’s uncanny ability to jump from baritone to lyric tenor in a moment’s notice is legendary. “Something about that melody is so young, but so ancient. I thought that would be a good way to start the record,” says Spalding. A driving groove between the double bass and piano lays the foundation for the entire song. This melody is effortlessly complimented by the angelic vocals of Spalding and Gretchen Parlato. Percussionist Jamey Haddad brings his rhythms on the caxix, hadgini, bongos, cymbals and crotales to this winning piece as well. This is a great introduction to the album and prepares listeners for the versatility heard in each composition.

‘She Got to You’ is a scintillating joyride. Pianist Leo Genovese lays down the framework for this heady piece. His chameleon-like delivery adapts to all facets of this track. Donald Harrison’s additions on the alto saxophone are compelling and strategic. He often appears to either compliment the heavy bass lines or to add texture between each verse with his solos. This song’s bravado and charm make it one of the many jewels on Spalding’s album.

Spalding jokingly refers to ‘Precious’ as the band’s feeble attempt at making a pop hit. Yes, the song has the mainstream appeal of a grooving chorus and the “you tell it, girl” attitude, but the subtleties give this song its power. The infectious bass line provides the far-reaching open quality for the track. Spalding’s voice is nearly perfect on this song and is the culmination of the varying styles she presents throughout Esperanza.

“Every one of them is phenomenal,” says Spalding when discussing the level of skill her band members embody. “They’re at the top of their class, so that made it very easy. They came in really ready to work and really ready with their creative juices flowing. It also helped that they were deeply committed to the project.” The two compositions that prove that fact are ‘Mela’ and ‘If That’s True’. The driving forces on ‘Mela’ are heard in the notes played by trumpeter Ambrose Akinmusire, Genovese’s skills on the ivories and the drumming of Horacio “El Negro” Hernandez. Spalding’s fleeting voice and Akinmusire’s patterned styles consume the spaces with their melodies. The presence of both Harrison and Akinmusire on ‘If That’s True’ is a welcomed duet. Their solos at the beginning are a great segue for the resonate arrangement heard later. Otis Brown Jr. displays his fine improvisational skills on the drums to produce the overall force to this song. The level of musicianship on this song renders ‘If That’s True’ as one of the captivating heavyweights on Esperanza.

“It’s totally inspired me to practice harder than ever,” Spalding says about the high praise for the album. “I want to make sure that I’m doing the work that warrants that type of attention.” Esperanza is one of the best albums of 2008 – hands down. Esperanza Spalding’s glowing talents as a singer, songwriter and musician are experienced in each composition. The noteworthy pieces such as ‘I Adore You’, ‘Espera’ and ‘Cuerpo y Alma’ are wonderful complete that add to the beauty of Esperanza. From beginning to end, it is a well-crafted piece of work that stands as a testament to her sheer dedication to creating great music. “I want to make sure that the music is continually growing. When I’m not cute and young anymore, the music will carry on regardless of what happens.”