Voice 'n' Bass
Danish jazz chanteuse and, as it happens, her bass playing
and producer husband – respectively, Cæcilie Norby and Lars Danielsson – have created
a fine album of classy voice and bass songs where there is generally minimal
additions to this focus, only, for example, light and distant ambient
orchestration on Liberetto Cantabile
[though it builds just a little at the end], and occasional percussion to hold
a beat as on Sad Sunday. Danielsson
plays variously electric and double bass and his virtuoso skill provides a
singular – in most cases – platform that is striking in its ability to carry the
instrumental duties. The best example of this is opener Both Sides Now, Joni Mitchell’s song, where the bass cascades
prettily beneath Norby’s full and precise vocal. Cherry Tree is sung beautifully over an acoustic guitar, but the
simplicity, and excellence, is maintained, though the niche sound on this album
is that core voice/bass combination, as on And
It’s Supposed To Be Love where some extra vocal overdub, finger clicks and
slapped bass provide an element of funk. I like the scatting and other vocal playfulness
on Wholly Earth, which is then
followed by some gorgeous bass and acoustic guitar on Sarabande, a short and delicate instrumental track of calm and
peacefulness. The full, impressive range of Norby's vocal is expressed on closer Hallelujah, again over superbly plucked bass, and its brief move into the operatic is perhaps in tribute to her mother who was an opera singer.
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