Jazz vocalists have always had a kissing-cousin relationship with R&B through the years. With the styles of rap and hip hop becoming part of the scene, jazz has absorbed it as it has done with other styles such as Afro Cuban and Brasilia. Here are a pair of recent releases that show the strengths and vulnerabilities of the co-mingling.
What has made Kurt Elling one of the top tier vocalists is his willingness to delve into new worlds of sound. At a recent gig featuring music from this album, he joked “This is the first album I’ve done that my daughter likes” as the album mixes Elling’s street wise vocals with a collaboration with guitarist/writer Charlie Hunter and the more urban sounding DJ Harrison/b-key and Corey Fonville/dr. The music itself is a wide range of features, with a Tower of Power punch alongside carney-styled delivery of Tom Waits lyrics on “Circus” while there’s some 70s soul to Carla Bley’s “Endless Lawns”. The funky title tune and hip hopping “Sassy” mixes shout out jive and stream of consciousness lyrics, while a mix of poetry gives a bohemian feel to Wayne Shorter’s “ Where To Find It”. He feels mores comfortable with Hunter on the relaxed “Dharma Bums” and the earthy soul of “The Seed” while the synthy “This Is How We Do” is modern and yet timeless. A one-off or new direction?
Drummer, keyboardist and percussionist Nate Smith leads a core R&Bish band of Brad Allen Williams/g, Fima Ephron/b, Jaleel Shaw/sax, Jon Cowherd/p-key and a rotating team of vocal and instrumental guest through a rocking electric affair. With vibist Joel Ross and vocalist Michael Mayo, Smith snappily leads the band through a Metheny-esque “Altitude” while his high hat simmers on the soul fusion of “See The Birds”. There’s a lot of rap and hip hop from Mayo and Kokayi teaming up with Shaw’s tenor on “Square Wheel” and Smith hits hard on the stomping “Band Room”. Rich voices and a fragrant pulse supplied by a supple Smith has Stokely delivering velvety voice on “Don’t Let Me Get Away” while violinist Regina Carter floats over Smith’s mallets on the sweet toned “Collision”. There’s a youthful earnestness to the album, with just a little more center of gravity to keep it all unified.