HHHH
Cooking in jazz generally relates to rhythmical momentum or excitement but with Gretchen Parlato it’s tempting to make a more literal comparison with the preparation of ingredients for the consumer’s pleasure.
The Los Angeles-born, New York-based singer takes infinite care with what goes into a performance. Choosing songs that she can sing with meaning is clearly only the beginning, because her arrangements and the way she and her trio interact show an attention to detail that’s positively, well, chef-like.
Parlato’s singing is beautifully measured. She has poise, clarity and the ability convincingly to relay a whole range of emotions as if having a one-to-one conversation. But it’s the whole package that engages: her band’s utterly sympathetic knack of grooving quietly or picking up the pace when appropriate, the imaginative mixing of textures both acoustic and electric and Parlato’s aptitude for making ensemble music all by herself with just her voice and an intricate hand-clapping pattern. The bad news is, with her star potential, we may never get to see her again in such an intimate space.
Norwegian-English trio Meadow also made full use of the Tron’s intimacy, playing completely free of amplification and allowing their music to develop at an unhurried pace. With no bass player, pianist John Taylor, percussionist Thomas Stronen and saxophonist Tore Brunborg make a sound that’s light and atmospheric but which also, notably on Brunborg’s 15, can groove with no little determination. Probably the only perspiration on show was created by the stage lights, but in their thoughtful, considered approach Meadow are making pastoral hymns as viable a jazz vehicle as the blues scale.
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