Jackie Allen: Which?

Naxos Jazz 86042-2

Heather Bambrick

A classical vocalist once told me that her vocal instructor advised her against singing either jazz or pop, saying performing in these styles would 'ruin her vocal chords, technique, and sound'. Obviously, Chicago-based Jazz chanteuse Jackie Allen did not follow this type of thinking. On her Naxos jazz recording Which?, Allen not only treats her audience to a very clear vocal performance, but also demonstrates an accessible style that combines her wonderful sense of swing and modern pop inflections.

Allen's musical background and performing history is quite extensive. Born into a family deeply rooted in music, she later studied as an applied voice major at the University of Wisconsin at Madison, and during this time, began working as a professional vocalist in a number of jazz venues. She continued her steady schedule of performances and added recording and song writing to her resume after moving to Chicago

Which? demonstrates the unique combination of studio accuracy, and the audible spontaneity evident in a seasoned live performer. This fifteen-track recording includes selections from master composers like Billy Strayhorn, Richard Rodgers, Sammy Cahn, and Cole Porter, as well as two originals. The arrangements are courtesy of pianist and co-producer Bill Cunliffe; he treats the tunes to a healthy dose of modernity without sacrificing their timelessness.

In choosing the musicians, Allen has wisely selected individuals experienced in both jazz and pop. Bassist Jim Hughart is a regular with Natalie Cole and drummer Roy McCurdy played for two decades with legendary jazz diva Nancy Wilson. Cameo horn appearances were made by tenor saxophonist Red Holloway, altoist Gary Foster, an active session player in the Los Angeles studio scene, and trombonist Bruce Paulson, formerly with Doc Severinsen's Tonight Show Orchestra.

The recording begins with a rhythmically playful arrangement of Too Hot For Words'. It is here that Allen displays a very strong sense of swing, yet she is still able to maintain a pleasing fluidity in her phrasing. In light of the song title and clever instrumental arrangement, I found Allen's vocal intensity a little lacking.

The songwriting talents of Billy Strayhorn are treated with reverence on track two. Day Dream combines wonderful harmonic movement with Strayhorn's classic melodic style. The light, Bossa Nova arrangement featuring alternating time signatures serves to highlight the beauty of the composition. It is here that the pop inflections of Allen's voice add just the right amount of modernity. Later, Horace Silver's Doodlin allows Allen the opportunity to display a little more character and 'quirkiness' in her vocal performance. (There are some obvious Annie Ross influences in her delivery.) The vocalise demonstrates a great deal of accuracy, as well as some tasty modern blues inflections. Cunliffe's arrangement and piano work is sure to keep toes a-tappin'.

Perhaps the biggest treat on the recording is Lost in the Stars from the Maxwell Anderson-Kurt Weill stage show of the same name. Allen delivers the song with impeccable phrasing and endless emotion. This rubato vocal piano duet is worthy of repeat listening. The reedmen are also worthy of repeated hearings, and on Jerome Kern's Dearly Beloved, they demonstrate their considerable skills. Their styles are displayed in delightful contrast. The rhythm section deftly maintain this strongly swinging arrangement.

In You Go is the first of two originals on the disc. It is a pop-flavoured Brazilian tune featuring a great groove and some wonderful trombone solo work. While the song is somewhat weak in composition, the arrangement is quite pleasant and Paulson's playing is a great addition. Allen's Pop vocal stylings are appropriately strong on this track. Admit It is Allen's second original on the recording. This jazz waltz has a nice, easy pop feel and features some wonderful solo work by Gary Foster.

The album continues with the same stylistic variety as it begins. Allen sings Billie Holiday's Left Alone with bluesy poignance. The sparse instrumentation adds to the melancholy tone of the song. I Was A Little Too Lonely is a pleasant bouncy swing in which there is a nice contrast between the slightly biting lyrics and sweet tone with which Allen presents them. Cole Porter's Which? switches between a bolero feel for the verses and a rubato ballad style for the bridge. While the rubato sections are quite striking, the presentation of the verses seem to take away from the fluidity in this arrangement.

Jackie Allen's Which? is a fine effort that will no doubt please many jazz enthusiasts. The arrangements are clever, and full of outstanding musicianship. Happily, the recording is up to Naxos' usual high standard. As such, the light, pop-induced stylings will appeal to those audiophiles who prefer their vocalists easy on the speaker and ear.