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专辑名称: Ghost Song
创作艺人: [Cécile McLorin Salvant]
音乐流派: Jazz|爵士
专辑规格: 1碟12首
出品公司: Nonesuch
发行时间: 2022/3/4
官方标价: £11.29 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Wuthering Heights
Optimistic Voices / No Love Dying
Ghost Song
Obligation
Until
I Lost My Mind
Moon Song
Trail Mix
The World Is Mean
Dead Poplar
Thunderclouds
Unquiet Grave
详细介绍:
Six albums into a career that continues to push limits and creative boundaries, Brooklyn-based vocalist and pianist Cécile McLorin Salvant, shows yet again that no genre pigeonhole or can define her vision. She%27s a wide-ranging creative on a quest to find new contexts for her vocal stylistics which shade towards the nimble coloratura soprano end of the spectrum. Self-produced by Salvant, Ghost Song was recorded at Brooklyn%27s Bunker Studio and St. Malachy%27s Church in Manhattan by Todd Whitelock and Patrick Dillet in 2020 and early 2021, just before the pandemic made in-person recording sessions difficult. Salvant opens with a sweeping rendition of Kate Bush%27s Wuthering Heights complete with ominous howling wind effects. Her rising, unaccompanied vocals simultaneously borrow from sinuous Arabic music and ringing Gregorian chant. That%27s followed by a clever and unexpected mashup of a neglected bit of the Wizard of Oz soundtrack, Optimistic Voices (You%27re out of the woods/ You%27re out of the dark/ You%27re out of the night/ Step into the sun/ Step into the light), where she%27s accompanied by a rhythmically strummed banjo, which morphs into a cover of Gregory Porter%27s languid love song, No Love Dying, with her longtime collaborator Sullivan Fortner taking over on piano and Alexa Tarantino lending a long flute solo. The music of Kurt Weill is catnip to adventurous vocalists (Lotte Lenya, Ute Lemper) and here Salvant, again accompanied by piano, flute, percussion and banjo skips and flutters through The World is Mean. The Salvant-composed title track, with the addition of Fortner on Fender Rhodes and Marvin Sewell on guitar, opens with a solo cry before becoming a bluesy rumination on love gone wrong—a favorite subject of Salvant%27s. She ultimately blames herself: My pride is my only company/ My pride will get the best of me; it%27s one of her finest love songs. The tune closes with choruses of I%27ll dance with the ghost of our love/ I will dance with the ghost of our long-lost love, sung by the Brooklyn Youth Chorus. The mode shifts again as she gets snappy and chatty in another original, Obligation where she ponders the interplay in relationships of guilt, resentment, and desire. Sting%27s Until gets a jazzy, vaguely Brazilian/Great American songbook-styled cover led by Fortner%27s piano and Tarantino%27s flute. Unlike many of the tunes where the accompaniment is spare and stark, a quintet accompanies this frothy frolic. A pipe organ provides the background to Salvant%27s I Lost My Mind in which her voice is overdubbed in a rhythmic, disembodied loop while she cries above. The mood turns slow and lush in her torchy ballad, Moon Song, where her desire stirs: Let me pine, let me yearn, let me crawl. Her solo piano piece Trail Mix is an effective palette cleanser before music is put to lines from an Alfred Stieglitz letter to Georgia O%27Keefe in Dead Poplar. Salvant appropriately closes Ghost Song with her convincing a capella version of the haunting English folk lament Unquiet Grave, (covered by Ween and Joan Baez, among others). Her commanding presence, her songwriting, her eclectic mining of songs from the past, the sparse but inventive arrangements and, of course, that sprightly voice all make Cécile McLorin Salvant a singular artist on Ghost Song. © Robert Baird/Qobuz
