Home : Plato's Words : March/April 2004

March/April, 2004

I just saw vocalist Cassandra Wilson and her group perform here in Vancouver's Chan Centre earlier this week. No one sounds like Cassandra Wilson. She has her own style and sound and approach to singing a song, whether that song is a standard or an old blues or even a pop song. She finds a way to make the song her own. Her smoky dark vocal colors are almost soothing even while the band may be cooking up a storm behind her. She seems to float right over top of the band or underneath at times with that deep voice. Even her swaying body movement throughout the music is soothing somehow. The words graceful and soulful come to mind. I like how she is always so musical in her approach to a song. That of course is a subjective call. Less is always more with Cassandra Wilson. She never beats an idea to death and never over does any one thing to get her point across or to state her musical idea. Even in her improvising she is careful about her choices and seems to almost edit herself as she goes along. Just when you think she might go on with some new improvisation she changes her mind as if to say, " no I have already said my piece…no reason to be gratuitous here…let's leave some space." I like that about her very much. I think every aspiring jazz singer should see someone like Cassandra Wilson once just to witness her unique approach to performing vocal jazz and blues.

Lately some of the DVD's and videos that I have borrowed from the library have been wonderful. One of my favorites has been Shirley Horn's "Here's To Life" video. It contains footage of her performing live with her trio, with the studio orchestra for recording the "Here's To Life" album and also has her performing in her own home. She is interviewed about her life and choices in music. Her mother, her daughter and special guests such as Carmen McRae and Quincy Jones are interviewed also. They comment on Shirley Horn and her life as a mother, daughter and musician. It is wonderful to hear Horn speak about the music and catch a glimpse of her personality. It is even more wonderful to see the footage of her recording her vocal tracks in the studio with the orchestra playing those breathtaking arrangements by Johnny Mandel for the "Here's To Life" album. Having listened to the CD many times it comes to life (pardon the pun) in a deeply personal way when you see her there singing at the studio microphone. What an incredible artist she really is. Her piano playing alone is magic but then to hear her voice with that orchestra is quite the experience. The footage at The Village Vanguard with her trio is wonderful as well, her playing and singing musical perfection in my opinion. She is really swinging and does those characteristic pianist shots in tandem with the band who are sitting close enough that they can follow her every lead. She is another musician, who does nothing gratuitously, everything is thoughtful and intended to bring the song to life with lots of space and time for things to register in the listener's ears and heart. You truly hear every word and you also clearly hear her pianist ideas. It is fun to see and hear her really dig in at the Vanguard gig in contrast to the Here's To Life segments which show her singing those spacious ballads as only Shirley can do. Even Carmen McRae comments on her tempo choices for ballads at some point on the video. I really hope that her health improves so that she can continue to touch the world with her beautiful music.

Another fantastic video that I recently saw is of Miles Davis live at the Montreux Jazz Festival in 1991. This is the live concert that he performed with the Gil Evans Orchestra and the George Gruntz Jazz Band conducted by Quincy Jones. It includes the concert footage as well as lots of the rehearsal footage as well. He played magically that night and actually seems quite content for the most part. He faces the audience throughout and on occasion raises his horn after audience response to a solo or at the songs ending. He also appears to really enjoy a young Wallace Roney who stands beside him playing trumpet and flugel horn. He gives him some of his "Mile's smiles" and leans in to tell him some secret thing in between the solos. Kenny Garrett who is the guest saxophonist plays really well throughout the concert and is given several solos. In the video Quincy Jones speaks about Miles and his admiration for him as an artist. He is obviously thrilled to be the conductor for this historic concert performing live the classic Gil Evans arrangements. It is lovely to see Miles come out to the stage almost shyly and embrace Quincy in a genuine act of friendship and admiration. Following that the Montreux audience is treated to a night of incredible music. Miles plays beautifully and shows why he really has been a leading force in the world of jazz for so many years,

In many ways I think (and I believe it has been said before by others) Miles Davis and Shirley Horn have a similar approach to music. They are the king and queen of silent spaces. They both leave lots and lots of space and place carefully the musical lines and chords that they play. Perhaps this can't be taught but has to be felt and heard in one's own head. Is it possibly genetic? Ha! I can't hear space well enough because I am always moving too quickly, or am too type "A" personality as they say. I hope though, that it is something that I indeed will hear in the music that I perform. That of course involves listening at a very deep level and then trusting one's inner voice as to when and when not to play or sing a line. As I teach my music students, rests are as important as the notes you play in music. An on that note I WILL rest…

Karin