Heather Bambrick: it's about time

HBCD-001

Playing Time: 56:56

Anthony Kershaw

Here comes yet another self-published release from yet one more Canadian jazz diva. With it's about time, the indefatigable Heather Bambrick jumps in to the rich pool of Great White North female jazz vocal talent with both feet (and arms waving). Along with the ultra famous Diana Krall (now more NYC than GWN), the slightly less famous Holly Cole, the amazing and should-be-far-more-famous Carol Welsman, and lesser known, but very talented Melissa Stylianou and Sara Latendresse, Heather Bambrick adds her distinctive voice/talent to a heady Toronto mix. I can hear Bambrick moan a long way from here to lay off the comparisons, but the competition is as real as the talent. Happily, and in many repects, Bambrick need not (and does not) fear comparison. She has a fine, responsive voice, and has taken great care to produce her debut album, it's about time, with style and flair.

The song list is not your standard fare. Three originals (That's Falling in Love, Maybe, and Aren't I Cute) are sprinkled among some inspired choices (Clifford Brown's Joyspring, Night Night Smiley by Phil Nimmons, and a first class cover of Prince's How Come U Don't Call Me Anymore?). Bambrick also sings a couple of standards: Love For Sale and Stormy Weather.

Bambrick's voice is quite well suited to her choices, her intonation is very good, diction superb, and except for a couple of self-indulgent moments, her renditions tasteful. She is at her best in the quirky, non-mainstream repertoire - as I mentioned, her cover of Prince's tune is really fine. Night Night Smiley (Bambrick wrote the lyrics) also shows her at her best. Songs like Aren't I Cute? (way too 'cute') at less than her best. Bambrick shines on Love for Sale and on a stylish, bitonal version of Stormy Weather, with David Occhipinti's stylized guitar solo sounding as if plucked directly from the 80s Quebec fusion group, UZEB.

When reviewing other female vocalists, the ubiquitous rave about the accompanying musicians usually appears right HERE. Not so, on this album. It gives me no pleasure in relaying to you that the accompaniments are less than ideal. Things get off to a shaky start with bass/piano intonation at the start of Joyspring. The disagreement between Michael McLennan's bass (Bambrick's MD and excellent arranger) and David Braid's left hand line is endemic whenever they solo (listen to the openings of Love for Sale and I'm Gonna Sit Right Down and Write Myself a Letter). This is odd, as both players are among the best in Toronto. The solo playing is good, excellent when the notes are in the hands of Mike Murley (sax) and the energetic William Carn (trombone). Murley's solo section on Night Night Smiley is the highlight for me - subtle underpinnings from Braid's piano and the 'colourful' drums of Davide DiRenzo match Murley's silky style.

The recording is well balanced, but with the voices, rhythm, and solo instruments heard distinctly. A natural sound, without too much spotlighting or reverb seemed to be the focus of engineers Michael Fletcher (instruments) and Jono Grant (vocals). They succeeded. Good mix all around.

So, a mixed bag for Bambrick's first release. My enjoyment of the highlights certainly erases some of the weaker moments. I would suggest that the CD is worth investigating for the Nimmons and Prince tracks alone. After those two gems, jump straight to Love for Sale. Bambrick's lovely version of Cole Porter's slice of genius portends things to come.

[You can learn more about Heather Bambrick @ www.heatherbambrick.com -- Ed]