Esperanza Spalding continues to live a wide variety of musical lives, with this album being no exception. While she’s adept at the post bop sounds as she teams with the likes of Joe Lovano or Tom Harrell, her own material ranges between synth pop, R&B and even semi classical. This time around, she comes up with the clever idea of having each song themed around a body part, such as the eyes, fingers, mind and thoracic spine, and having the themes woven into various moods as well. It’s a rich message both musically as well as holistically, fit for the fan of sounds or the chiropractor.
Spalding herself sings with wide range and clarity, as well as playing electric bass, orchestral bass drum, piano and organ. Along with Matthe Stevens/g-eb, Justin Tyson/dr-key,voc, Burniss Travis/b-voc, Corey King/voc and Rob Schwimmer/contin, there is a 12 Little Spells Orchestra of horns, woodwinds and strings on a number of the 16 tracks.
Spaldings clear and warm voice is comfortable in a surfeit of settings here, such as the pretty Disney-esque title track or the synthesized “Touch In Mine” with soulful vocal chants, or her high pitched ranged floating over her hip bass line on the dark shadowed “Now Know.” With bowed strings, the atmosphere gets eerie for “Ready To Rise” and with King she shows her mellow soul on a dreamy “All Limbs Are.”
Free thinking thoughts on religion team up with a jazzy pulse on “ Dancing the Animal” and she talks about power trips on an artsy and indie “With Others.” Synthy sounds akin to Emerson, Lake and Palmer are as reflective as her self-analysis during “How To” and hip hop synth contemplations are thick on “Lest We Forget.”
This is similar in alter ego as her “Emily” album awhile back; how it will look on stage is anyone’s guess, but you can be sure that it won’t be intriguing. Another colorful piece of marble in Spalding’s rich mosaic.