Are “subtlety” and “understatement” toxic characteristics? Such critics’ buzzwords are overshadowing the centrality of persona among jazz singers. Critics often use these terms to compliment and contrast thus it is critical gospel to contrast vocal say Diana Krall’s restraint with Diane Schuur’s vocal pyrotechnics. In jazz singing this is particularly pertinent in an era where reserve, restraint and cool become prime virtues of jazz or jazz-associated singers such as Diana Krall, Norah Jones, etc. That such terms often arise during periods where vocal overkill sets the rule at least partially explains the critical reputation of what I term the “subtle-ists.” Whether sipping flavored coffee in some corporate coffee shop or cruising to the beach, “subtle-ists” are always a delicate whisper away.

However whether “history” will imbue the “subtle-ists” with virtue is an open-ended question. Some of jazz’s finest singers, notably Mildred Bailey, Billie Holiday, Lee Wiley, Carmen McRae, and Shirley Horn, established minimalist melodic, rhythmic and harmonic variations as tools for interpretation adding up to an unusually vivid sound and style. Whereas McRae’s sharp sense of humor, Holiday’s playfulness or Horn’s dramatic tone are central to their appeal, they feel quite apart from the “subtle-ists.”

Several years ago based on a positive review in Jazztimes I purchased Krall’s 2002 release Live in Paris. After years of hearing and reading about her I decided to check out the fuss. Positive reviews, coupled with the fact that the album is a de-facto greatest hits of her repertoire made it a sensible purchase. I listened to the album several times and found myself impressed by several of Krall’s adventurous piano improvisations especially on “S’ Wonderful” and the blues in “Devil May Care” were refreshing for such a seeming stiff. At the same time the vocals left me cold. Krall sings in tune and never oversells any of the material. In fact she’s quite earnest even when she is mildly swinging. But there is a difference between earnest an endearing. With Krall there is little in the way of personality, drama, humor or investment. Her singing evokes no sense of a real person but a professional musician more concerned with getting it right than touching your heart. She sounds so afraid to overdo it that her vocals always feel tentative and undercooked.

Much has been written about Krall aping Horn and McRae in spots, but I would suggest that the difference is the very lack of their devil-may-care attitude. McRae fully acknowledged the limitations of her voice and is still comparable to divas with greater range such as Sarah Vaughan because they are individualistic. Horn seems defiantly content about her status as the queen of hushed balladeers rather than a hard-swinging, flash scatting shouter. But what is Krall’s legacy? What does she have to offer her audience besides hushed, easy going versions of over familiar songs? The question is not competence or skill but jouissance. Chops without charm is fine for formalists but what about those who want to feel passion not just contentment? This spring Krall released her first collection featuring self-penned songs, The Girl in the Other Room and time will tell if an aesthetic identity arises from this development.

Interestingly the same Jazztimes issue reviewing Krall included reviews Patricia Barber’s Verse and Natalie Cole’s Ask A Woman Who Knows. The reviewer lauded Barber, a skillful composer and pianist, and lamented Cole’s lack of subtlety. Barber easily polarizes those simply who want lush standards or eye-popping scats by virtue of her observant tone, and even abstract explorations of human behavior, including romantic angst, pretentiousness and peculiar human behavior. Lest she sound too academic, Barber has a sense of humor but is challenging for those accustomed to standards recitals or virtuoso displays. Regardless she has a point of view; she stands for something and possesses an aesthetic she steadfastly adheres to. It is unclear what “subtle-ists” stands for beyond singing love songs. Again, romantic subject matter is not unworthy of exploring nor must one compose to convey a persona but it is the lack of persona most troubling about the “subtle-ists.”

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