Of These I Sing (Part 1)

 It's that time of year when critics and reviewers create their "Best-of" lists. I am no different but I look at this group of recordings as music that informs, changes, and enhances my life and teaching. Here is the group of albums from the past year that helped me through illnesses, sadness, joy, and much change.

Miguel Zenón - "Musica De las Américas" (Miel Music) – It's no secret how much I admire the music and work of Miguel Zenón. With his long-time ensemble, composed of Luis Perdomo (piano), drummer Henry Cole, and Hans Glawischnig (bass and truly the "glue" of the band). This new album celebrates the music of Central and South America as well as the Caribbean, showing how various elements have entered into the music of the United States (and beyond).  Along with the latest album by rapper Bad Bunny ("Un Verano Sin Ti"), whose music celebrates the rhythms that inspire reggaeton, the album has deep grooves, evocative melodies, and the inventive musicianship one has come to expect from Señor Zenón and company. Percussionists Paoli Mejías, Victor Emmanueli, Daniel Díaz, and the five member Los Pleneros de La Cresta each appear on one track during the eight-song program. 

Enjoy the fiery "Opresión y Revolución ":

Wadada Leo Smith w/ Pheroan akLaff, Andrew Cyrille, Han Bennink, and Jack DeJohnette - "The Emerald Duets" (TUM Records) – Trumpeter, composer, conceptualist, historian, and philosopher Wadada Leo Smith celebrated his 80th birthday on December 18, 2021 (meaning he just turned 81 yesterday, as I write this). The Finnish-label TUM Records celebrated that momentous occasion by issuing two multi-disc box sets by Mr. Smith, the seven-CD "String Quartets: Nos. 1-12" and the five-CD "The Emerald Duets". Both are amazing but I expect it will take many more months to truly take in the scope of the string music. Whereas five albums with drummers captured me immediately.  All the sessions stand out (this is the first time Mr. Smith played with Mr. Bennink) but the two CDs feature Mr. DeJohnette, a long-time musical compatriot. The drummer plays piano as well as percussion; it's not hard to fall under the spell of this music.

Listen to "Silence, Quietness and Very Still" - Wadada Leo Smith & Jack DeJohnette:

Marta Sanchez - "SAAM (Spanish American Art Museum") (Whirlwind Recordings) – Pianist and composer Sanchez had a tumultuous time during the Pandemic as her mother passed early on.  She found time to write new music for her group – saxophonists Roman Filiu and Alex LoRe, bassist Rashaan Carter, and drummer Allen Mednard – and it's her most mature and realized program. The music sings throughout the album plus there are fine solos from all involved. Subtle, emotional, and intelligent, "SAAM" draws from myriad influences, is never imitative, and draws in the listener on the strength of the melodies.  One track, "Marivi", features Ms Sanchez, Mr. Carter, and Mr. Mednard with Camilla Meza (vocal, guitar), Ambrose Akinmusire (trumpet), and Charlotte Greve (synths).

Listen to "Dear Worthiness":

Tyshawn Sorey Trio + 1 (with Greg Osby) - "The Off-Off Broadway Guide to Synergism" (Pi Recordings) -  Another impressive year for drummer, composer, and educator Sorey, filled with debuts, impressive gigs, and two great albums. This live three-album set of standards, jazz classics, and more, is a splendid exploration of melody, improvisation, and interplay featuring Mr. Sorey with the impressive pianist Aaron Diehl, bassist Dana Hall, and the very welcome alto saxophonist Greg Osby. Three long sets (75 + minutes) yet the music never gets dull or stale because the musicians are free of any expectations other than play the melody, improvise, and follow your creative flow. The week before I wrote about the album, I listened to, at least, one set a day, especially on my daily walk.  The addition of Mr. Osby, whose musicianship is impressive throughout, is such a delight!

Hear "Solar":

Noam Lemish – "12" (TPR Records) – This album, from the pianist, composer, and educator Noam Lemish, was one of the more impressive releases of the last six weeks. The Israeli-born, American-educated, and Canadian resident, had recorded several albums with oudist Amos Hoffman, duets with percussionist (and one of his teachers) George Marsh, plus several solo piano explorations.  Here, he leads a 12-piece ensemble comprised of many fine Canadian musicians, supplying them with fine, often episodic, pieces with impressive arrangements. There's humor, pathos, wit, and emotion throughout the album (one of the initial releases on Three Pines Records, a new Canadian label led by Amy and Ernesto Cervini). This album gets better each time I listen––give it a whirl!

Here's the delightful "Beethoven's 7th Visit to Romania":

PUBLIQuartet – "What Is American" (Bright Shiny Things) – I don't write about classical music very much but this album (plus the Johnny Gandelsman album in Part 2) truly caught my attention. The PUBLIQs––violinists Curtis Stewart and Janina Norpoth, violist Nick Revel, and cellist Hamilton Berry––often blend European and American classical music but also have a expressive modernist bent.  One of the group's ongoing projects, dubbed "Mind| The| Gap|", features arrangements of music by Nina Simone, Ornette Coleman, Tina Turner, Ida Cox, Alice Coltrane, and others into stew that really alters the way you listen to a string quartet.  This album features music by Antonin Dvorák, Vijay Iyer, Roscoe Mitchell, Rhiannon Giddens, and others––it certainly does make you think about "what is American"! 

Give a listen to "Improvisations on "Law Years" and "Street Woman" (composed by Ornette Coleman):

Trish Clowes – "A View With a Room" (Greenleaf Music) – Composer and saxophonist (tenor and soprano) Trish Clowes signed with Dave Douglas's Greenleaf Music this year and gifted listeners with "A View With a Room".  Featuring her long-time band My Iris––guitarist Chris Montague, pianist and organist Ross Stanley, and drummer James Maddren––the music may, at times, remind you a bit of the quieter music of Jimmy Guiffre but, to this listener, Ms. Clowes has really created her own sound. The band interaction is impressive and the music makes you want to return to the album often.  They have not toured the US yet––if they do, I would recommend you spend a night in their company.

Here's the delightful "Amber":

Somi – Zenzile: The Reimagination of Miriam Makeba (Salon Africana) – The vocalist and composer Somi has truly blossomed into a world-class artist, celebrating the sound of the African continent even as she updates it.  Here, she pays tribute to the great Miriam Makeba (1932-2008), creating one of the most uplifting programs you will ever hear. In fact, Somi also created a play, "Dreaming Zenzile", around Ms. Makeba that debuted off-Broadway earlier in 2022. The album sounds so good, with such delicious rhythms, attractive vocals, and an impressive guest list including Ladysmith Black Mambazo, Angelique Kidjo, amd Gregory Porter (listen below) plus others.  World music at its best–give a listen.

Here's the sensuous "Strawberries" featuring Gregory Porter:

Kate Wyatt – "Artifact" (Self-released) – The Montreal, Canada-based pianist Kate Wyatt, a native of British Columbia, has been active on the creative music in her native country for over two decades. "Artifact" is her debut recording as a leader and well worth the wait. Featuring drummer Jim Doxas, bassist Adrian Vedady (her husband), and trumpeter Lex French (on the Music Faculty of McGill University) the quartet explores this music with vigor, sensitivity, and emotional depth.  Ms. Wyatt is a fine player but always makes sure you hear the other members of the group.  One can hear a nod in the direction of the Kenny Wheeler, as much in the "open" sound and wit in the composition as well as in Dr. French's trumpet work.  Impressive debut and one hopes there's more coming soon.

Listen to the lovely "A Flower Is a Lovesome Thing":

Sachal Vasandani with Romain Collin – "Still Life" (Edition Records) - This is the second collaboration for the vocalist with pianist Collin––like its 2021 predecessor "Midnight Shelter" (also on Edition Records), these performances are intimate, often spare, quiet, yet with an emotional intensity that draws in the listener from the beginning and does not let go until the last note fades. In fact, each time I listened, I played the album all the way through.  When I spoke to the duo this past summer, they said that Mr. Vasandani stood right next to the piano during the recording session––the intimacy of the recording process translate to the music. Such a smart selection of tunes, from folk music to jazz standards to "pop" tunes to originals. Late night or early morning, this music is a comforting friend..

Listen to the emotional and heartbreaking "(I) Can't Make You Love Me":

Part 2 will come soon!

Celebrating a Debut & The Music and Story of Miriam Makeba

Photo: Anna Yatskevich

Tenor saxophonist and composer Julieta Eugenio was born, raised, and educated in Argentina.  After graduating from the Manuel de Falla Conservatory, Ms. Eugenio came to the United States in 2013 to study at the Aaron Copland Conservatory at Queens College in New York City where she earned her Master's degree. She's gone on to play with pianists David Kikoski and Johnny O'Neal, drummer Leon Parker, with the SIJ Trio, and the Eyal Viner Big Band.  Along the way, the saxophonist met bassist Matt Dwonszyk who introduced her to drummer Jonathan Barber––the rhythm section are both from Hartford, CT.  In the beginning of the pandemic, the bassist invited Ms. Eugenio to come to the Hartford to get away from the big city. They hiked the hills and parks around Connecticut's capitol city and, in the evenings, jammed with the drummer, giving birth to her Trio and her debut album. 

"JUMP" (Greenleaf Music) is the album. The hour-long program features eight originals from the leader plus two standards "Flamingo" (composed by Ted Grouya and Edmund Aderson, first recorded by Herb Jeffries and the Duke Ellington Orchestra in December of 1940) and "Crazy He Calls Me" (penned by Carl Sigman and Bob Russell in 1949, recored by numerous people including Billie Holiday and Dinah Washington).  Ms. Eugenio is well-served by her rhythm section––both Dwonszyk and Barber are totally involved in the music, pushing, prodding, being both melodic and propulsive. It's notable from the opening seconds of the first track as both the well-constructed melody and the percussive attack stand out. The bassist's counterpoint is on-point while the drummer dances with glee as Ms. Eugenio's solo unfolds.  

There are moments when this Trio will remind the listener of the work that Sonny Rollins did in the 1950s with bassist Wilbur Ware and drummers Elvin Jones or Pete LaRoca ("A Night at The Village Vanguard")––check out the ballad "For You" or the fun take of the classic "Flamingo" (the rhythm section is a true treat!)  Pieces such as the high-powered "La Jungla" sound more modern (pay attention to the depth of Ms. Eugenio's tone) or the slinky drive of "Another Bliss" (Barber's drum work stands out for his inventive support while Dwonszyk's bass work sings under the sax solo.) The bassist's "fat" tone and buoyant lines lead Ms. Eugenio in on "Crazy..." and the two stroll through the piece together without Barber. The bass solo is a particular treat, especially for its musicality.  

"JUMP" is a splendid debut for Julieta Eugenio laying the groundwork for a career that one hopes is filled with delightful music and interactions.  She's absorbed her lessons and now needs to hit the road which should make her music stronger and help her make her musical voice more singular. Yet, what a great start!

For more information, go to www.julieta-eugenio.com. To hear more of "JUMP" and to purchase the album, go to https://julietaeugenio.bandcamp.com/. 

Hear "La Jungla": 

A new album from vocalist Somi is always a welcome audio adventure.  Born in Illinois to parents who emigrated to the US from Rwanda and Uganda, Somi first came to critical notice with her 2007 debut "Red Soil In My Eyes", an album which featured her fascinating voice with Afro-Beat, Afro-Pop, and more, reminding some reviewers of the music of Kate Bush and Peter Gabriel.  Somi spend 18 months in Nigeria which led to 2014's "The Lagos Music Salon", an album that still sounds fresh with its blend of jazz, r'n'b, African rhythms, and spoken-word intervals. Social commentary, Hip Hop, funk, and American pop music entered her music with the 2017 release of "Petite Afrique" while 2020's "Holy Room: Live at Alte Oper with the Frankfurt Radio Big Band" stands out for her ability to adapt all her musical influences with a large ensemble. 

March 4, 2022, was the 90th birth anniversary of the international star Miriam Makeba and also the day that Somi  released "Zenzile" (Salon Africana), her tribute to the great singer. The recording takes its name from Ms. Makeba's first name (pronounced "Zen-zee-lay") and its material is taken from the varied segments of her career.  Pieces such as "Pata Pata" were huge hits yet Somi's version uses the song as a vehicle for a recorded interview with Ms. Makeba with only a string quartet for support.  The vocal portion features four singers plus Somi and is filled with sounds and silence. Ms. Makeba first recorded "Mbombela (Train Song)" with Harry Belafonte in 1965 in New York City––Somi's danceable take features the voice choir plus a funky band (check out the delightful organ work of Cobhams Asuquo and guitar of Herve Samb).  Angelique Kidjo joins the leader on "JIKELE MAWENI (The Retreat Song)" as do more voices, a horn section, and a lively rhythm section.

There are so many highlights (and no weak moments) in the 17-song program. Click below to hear Somi with Ladysmith Black Mambazo in a faithful recreation of "Nonqonqo", also from the 1965 album Ms. Makeba made with Belafonte. Gregory Porter joins the vocalist on "Strawberries", a song from Ms. Makeba's 1962 album "The Many Voices of Miriam Makeba"––on the modern version, the voices ride atop a piano-bass-drums-percussion quartet plus the the occasional female chorus. The music is so sensual, the lyrics evocative of a warm summer night.  Somi's magnificent, emotionally-rich, vocal on "Khuluma" is stunning. She's joined by South African vocalist Msaki; their voices wind around each other plus there is a power in their that makes one sit up and pay attention.

"Zenzile" closes with "Mabhongo", a song from Ms. Makeba's 1988 album "Sangoma" (a return to recording for the singer). With choruses of male and female voices for support plus the plaintive piano of Ndudozo Mahkathnini, the song opens like a prayer and, as Somi and the pianist step to the fore, the music displays a gentle beauty that touches the heart and the soul.

"Zenzile" is a stunning accomplishment as it brings the music of and the person who was Miriam Makeba to life once again. The messages in her songs are timeless and Somi makes sure you hear the rhythms and word––you need to hear both, you need to take the messages inside and don't let it go. In this time of forced migrations and totalitarian attacks, there is hope, sadness, love, joy, and positivity in this music.  Pay attention!

For more information, go to www.somimusic.com.  

Up in the right-hand corner of this (and all) columns is a link to "The Jazz Session"––in Episode #589, host Nicky Schrire converses with Somi and you will learn a lot about the album as well as the production of "Dreaming Zenzile" that Somi created and premiered before the pandemic (2019) that is scheduled to open Off-Broadway later this year.

Here's Somi with Ladysmith Black Mambazo on "Nonqonqo":

Somi · Nonqonqo (feat. Ladysmith Black Mambazo)

Personnel:

Special guests include Ladysmith Black Mambazo, Angelique Kidjo, Gregory Porter, Seun Kuti, Thandsiwa Maswai, Msaki, Nduduzo Mhakathini

Herve Samb (guitars)

Nate Smith (drums)

Michael Olatuja (bass)

Keith Witty (bass, percussion)

Toru Dodo (piano)

Mino Cinelu (percussion)

Cobhams Asuquo (organ, upright piano, percussion)

Phindi Wilson (vocal chorus)

Bongi Duma (vocal chorus)

Nhalanhla Ngobeni (vocal chorus)

Vuyo Sotashe (vocal chorus)

Lakecia Benjamin (alto saxophone)

Jeremy Pelt (trumpet)

Myron Walden (soprano saxophone & tenor saxophone)

Mazz Swift (violin 1)

Juliette Jones (violin 2)

Jessica Troy (viola)

Marika Hughes (cello)

Live Singer, Songwriter, and Large Ensemble

Photo: TEDxNew York

Somi, vocalist, musician, composer, and activist, is a first generation daughter of a couple who came to the United States from Rwanda and Uganda. Over the past decade, she has released four albums, toured the world and is the founder of "Salon Africana", an arts agency that celebrates the arts from the African continent. What audiences have discovered over the years is an artist with a wonderful voice, a fine lyricist who tells stories that touch on current issues as well as issues that touch on Africa and on the role of women in society.

Her new recording (her debut on her own label), "Holy Room: Somi Live at Alte Oper" (Salon Africana/ hr Big Band), pairs the singer with the Frankfurt Radio Big Band for a live concert. John Beasley did all the arrangements for the 15-member ensemble plus two of Somi's touring band, pianist Toru Dodo and guitarist Hervé Samb.  All the compositions come from the vocalist except "Alien" (written by Sting as "Englishman in New York" with new lyrics by Somi) and "Lady Revisited" (written by Fela Kuti as "Lady" with new new lyrics). Eight more songs come from Somi's two most recent albums, while one is a piece from 2007.  Right from the opening, this music is enchanting, rhythmically exciting, with soaring vocals, stunning ballads, and intelligent arrangements for the Big Band.

The 92-minute (two disk) concert program opens with "Kadiatou the Beautiful". Originally recorded for the 2017 "Petite Afrique" album (OKeh Records), the songs starts as a meditation before the African rhythms kick in and guitarist Samb breaks out into a powerful solo. Kudos to the Big Band's rhythm section, bassist Hans Glaswischnig (acoustic and electric basses) and Jean Paul Höchstäder (drums) for creating such deep beats.  Listen to them push the vocalist on "Black Enough" while the band wails in the background. Dodo's electric piano solo roils on top of the band.  "Ankara Sundays" (from 2014's "The Lagos Music Salon", also released on OKeh) features a splendid Beasley arrangement which, at times, has a Maria Schneider feel.  Somi's vocal is stunning as she inhabits the soul of a woman dreaming a way through her present life.  Samb's evocative guitar is the only accompaniment at the onset of "Like Dakar"––the reeds lead the band in and the songs drops into a sensuous rhythm thanks to the bass and drums. Listen to how the vocalist accompanies the guitar solo as if she was a part of the reed section.

Disk 2 opens with "Alien", Christian Jaksjö's amplified trombone leading the song in.  Somi tailors the lyrics that speaks to her experiences in the City ("I'm a legal alien/ I'm an African in New York") singing from the viewpoint of a taxi driver.  Listen to the various voices accompany the trombone solo, blowing like a wind through the caverns of Manhattan.  Dodo's classically inspired solo introduces "Two Dollar Day" (from "The Lagos Music Salon"), an impressive story of a young Nigerian widower trying to bring home enough money to feed her hungry children. We look at her from the outside, not knowing her name but realizing "her days are numbered."  "Look away, look away, if you dare" cries the vocalist before Samb's blues-soaked solo.  The guitarist has a long, unaccompanied, introduction to "Ingele" (from Somi's 2007's "Red Soil in My Eyes") is melodic and percussive as is the song that follows.  The vocalist plays with the title and adds others words but mostly utilizes her voice to interact with the band.  Samb and baritone saxophonist Rainier Huete create fiery solos over the rampaging band before Somi's voice, accompanied only by Hochstäder's fiery drumming brings the song to a close.

Photo: hr Big Band

The album closes the lovely "Holy Room", a prayer that, similar to the Old Testament's "Song of Songs" in the way the words are a love song to her religion, to her God. Yes, there is a sensuality to the song but it's not lurid, sexy, or suggestive––the music is gentle, the vocal is lovely, and the arrangement handsome and supportive. Samb's guitar solo flows like birds dancing on the wind, the rhythm section  pushing but gently with the low reeds in the background.  

"Holy Room", the album, is a treat for tired ears and minds.  It gets noisy at times but this is a joyful noise.  The lyrics are sometimes sad but the vocalist never sounds as if she has given up hope. John Beasley does excellent work here as does the Frankfurt Radio Big Band. While one may view this program as a reassessment of her earlier work, Somi gives her all to her art so this music sounds fresh, relevant, contemporary, and refreshing.   Such an excellent recording is worth your full attention!  

For more information, go to www.somimusic.com.  To listen to more and purchase the album, click on  

https://somi.bandcamp.com/album/holy-room-live-at-alte-oper-with-frankfurt-radio-big-band. 

Here's an exciting track:

Voices Raised to Illuminate

Vocalist and composer Somi , born in Illinois, is the child of parents who hail from Uganda and Rwanda; she considers herself "an East African girl." She has released 4 CDs, the first (now out-of-print) in 2003 and then one each on World Village (2007), ObliqSound (2009) and her live recording on Palmetto (2011).

Her list of accomplishments is long and varied, from being at TEDFellow, a Park Avenue Armory Artist-in-Residence, and performing at the United Nations in commemoration of the International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade.

In 2011, Somi moved from New York City to the port city of Lagos, Nigeria, currently the 7th largest city in the world. She spent 18 months there, soaking in the culture, trying to make sense of the political scene there but ask throwing herself into producing concerts and intimate salon shows, closing her stay as an Artist-in-Residence at a University in Ilorin, Nigeria, 160+ miles northeast of Lagos.

Most of all, her music began to change.  She still wrote lyrics concerned with the plight of poor people but also shifted her focus to how women are treated in the Third World to pollution that chokes rivers and water supplies.  With help of her top-notch band - Liberty Ellman (guitars), Toru Dodo (piano, keyboards), Michael Olatuja (bass) and Otis Brown III (drums) - plus producers Cobhams Asuquo (Nigeria) and Keith Witty (New York City, who played bass on her live CD) and a slew of guests, Somi has created "The Lagos Music Salon", her debut for the Okeh label.  As impressive as her previous recordings are, this CD is a giant step forward.  Not only does the music serve as a travelogue for her journeys in Nigeria (the opening track uses the soundtrack of her moving through customs in Lagos), it also is a brilliant meld of traditional and modern rhythms.  Think Fela Kuti meets Robert Glasper and you begin to touch the surface.  Ellman who works alongside Henry Threadgill and Steve Lehman, plays splendidly throughout, from his "clicking"rhythm guitar on "Lady Revisited" to his strong acoustic guitar on "Four African Women."  Michael Olatuja's throbbing bass lines drive the music, making songs such as "Four.One.Nine" (a harrowing tale of a women who sings "You will have to break my arm before you break my heart" to her philandering lover) and "Two-Dollar Day" (a woman looking for any kind of work after the death of her husband) feel like dance pieces (even as the words make you wince or feel sorrow.) He, also, has a powerful solo on "Still Your Girl."   Toru Dodo, who has been with Somi since her 2007 release, is a wonderful accompanist; his support on "Ankara Sundays" complements not only her vocal but also Ellman's guitar lines while his ringing chords and single-note runs on "Last Song" are calming as the percussion pushes the music higher. He may also be responsible for the fine string quartet on 4 of the tracks. The playing of Otis Brown III (Gretchen Parlato, Joe Lovano's Us 5) is exceptional, whether he is blending his jazz/r'nb chops with the other percussion or locking in with Olatuja's funky bass on "Four African Women" - never disruptive, always in good taste, he skillfully frames the vocals and solos.

Guests include vocalist Angelique Kidjo, rapper Common, trumpeter Ambrose Akinmusire,  the Nigerian vocal group In His Image, and percussionist Ayanda Clarke. Trumpeter Etienne Charles provides the fine horn arrangement on "Akobi: First Born S(U)N" while Alicia Olatuja (the bassist's wife adds her lovely voice to numerous tracks.

But, make no mistake, this is Somi's show.  She had a hand in composing each song, providing the powerful lyrics.  And, her voice is stunning, with a big range.  But, it's just that she can hit many notes but there is great emotional depth, ranging from pure joy to righteous anger to mature love.  There's no fear, no taking the easy way (the producers surely had a hand in that), no extraneous sounds just to fill up the spectrum - even the string arrangements have power and presence.

At 70 minutes, "The Lagos Music Salon" is a powerful musical statement.  The energy and the vision never flags, the musicianship is imposing and the sound quality quite impressive.  Don't ignore Somi and her music - she has many things to tell you about the condition of the world and does so without preaching or cursing but with love and humility.   For more information, go to www.somimusic.com.

Since emerging on the Canadian music scene in 2006, the Montreal-based Elizabeth Shepherd has been creating music that skirts the territory between jazz, down-tempo, and r'n'b. While she has no fear of re-arranging standards (her 2012 release, "Rewind", featured pieces like "Prelude To a Kiss", "Sack of Woe" and "Love For Sale"), she is also an impressive composer.  The rhythm section of her 5th CD, "The Signal" (self-released/Linus Productions) includes bassist Scott Kemp (5 of the 10 tracks) and drummer Colin Kingsmore (5 tracks), both of whom have played on her previous 4 recordings.  She also utilizes bassist Ross MacIntyre (5 tracks), drummer/percussionist Roman Tomé (2 tracks), drummer Larnell Lewis (2 tracks), and drummer Joshua Van Tassel (1 track). Lionel Loueke shows up on the opening track "Willow" playing guitar and adding backing vocals, backing vocals on "Another Day", and percussive guitar on "This." . Ms. Shepherd shares the lead vocals on the title track with Alex Samaras, a member of saxophonist Angela Morris's "Rallidae" (my review here).  The impressive Toronto-based trumpeter Kevin Turcotte is featured on 2 tracks, blasting his way through the synthesizer fog and propulsive drumming of Kingsmore on "Lion's Den" and serving as a trumpet choir, funky soloist  and the last sounds you hear on "Baby's Steps", the final track of the CD.

Ms. Shepherd wrote all the songs, produced or co-produced the album, played Rhodes, acoustic piano, MOOG and sang 95% of the vocals.  Several of the songs have samples; the voice of Mother Teresa rises out of the drums on "I Gave", CBC radio host Laurie Brown sets the story of the title track with a tale of synchronicity, and Leadbelly leads off "B.T. Cotton" by introducing a traditional slave song ("jump down, spin around, pick a bale of cotton").  That last track is a sweet, bluesy, funky piece reminiscent of the sound of Gretchen Parlato - the use of the Steel pans, played by Toronto-based, Trinidad born, Mark Mosca, comes out of the blue and is a pleasing addition to the song.  Another sample, this time a news report from Los Angeles describing a  police action  (the announcer mentions "racial profiling", serves as the stepping off point for "Another Day," The lyrics take an abstract view of peoples' actions, leaving the listener with some hope as does the fade on the voices of playing children.

One can  hear the influence of Robert Glasper's funk-drenched jazz in the excellent Rhodes work of Ms Shepherd.  Her experimentation brings to mind the work of Peter Gabriel on "So", "Us", and "Up"  with many of the songs featuring her voice multi-tracked. For example, the mix of Larnell Lewis's hard-driving drums, the percussive Rhodes and the numerous voices works to great effect on "On Our Way." Also, like Gabriel, it takes the listener several listens to catch the words.

"The Signal" resembles Elizabeth Shepherd's 2010 CD "Heavy Falls The Night", especially in the multi-tracked voices and liberal use of Rhodes.  The earlier album has more of an up-tempo feel and a brighter sound while the new one is darker, the sounds a bit murkier or distant but no less attractive.  Up until this new CD arrived in the mail on Monday, I had never heard Elizabeth Shepherd.  I have a lot of catching up to do and I know it's going to be a lot of fun.  For more information, go to elizabethshepherd.com/home/.

The new CD is not released until September 30 so here's a funky take of Cole Porter's "Love For Sale" from Ms. Shepherd's 2012 CD "Rewind":