Cassandra Wilson: Jazz Roots
Also behind one of Wilson's many doors are decades of immersion in traditional American pop musicsongs that revolve around the "fascinating harmony and melodies" that support the poetry of the lyrics. On Loverly Wilson does not tamper with this formula: Even on well-known tunes with non-traditional percussive lines ("Black Orpheus," "Caravan," "Till There Was You"), the groove provides the bedrock, but Wilson's soaring, clearly articulated vocals are what tower above. And of utmost importance, Wilson believes, are the lyrics, which, like the grooves she espouses, must issue from the intensely personal. "In order to deliver a piece of music, especially a piece of music that has lyrics, you have to have some sort of connection to the story behind it. Sometimes that may take years," Wilson reports, adding that "all singers will pick songs based on what their criteria areand for me the criteria are almost always how I can tap into a song and how I can relate from experience in my life to that lyric."
But clearly Wilson does not experience the standard tunes on her new album in quite the same way as she did those on Blue Skies, where she draws from a more conventional jazz vocabulary and uses scat solos. Or perhaps her relationship to standards, the material on which she learned her craft, has changedbut there are no scats on the new disc.
"I associate scatting with bebop. And there are masters of thatSarah Vaughan, Betty Carter, Ella Fitzgeraldwho...were reflecting the music of the time. They had so much vibrancy. What the instrumentalists were doing was so fresh and new to them that of course it was a contagious kind of thing... They were in that moment. I find that what we're doing now a lot of the time with jazz is still dealing with that moment and that was the moment for that generation. So it often comes across as being too deliberate. It doesn't have the same spark that it did for that generation when they were doing it... We're experiencing that music almost second-hand."
Determined that this CD would be of its own moment, Wilson took pains to create as relaxed a recording environment as possible for her band (besides Plaxico and Babalola, guitarist Marvin Sewell, pianist Jason Moran, bassist Reginald Veal, drummer Herlin Riley and backup singer Rhonda Richmond). She chose to record the album in a house in her hometown of Jackson, Mississippi, converting the home's many rooms into a makeshift recording studio, with the control room obscured from sight. "When you walk into a studio you usually have a very strong sense of the control roomit's almost like the Wizard of Oz," Wilson explains. "So I wanted to see what it would be like if...the engineers are virtually hidden." The result, Wilson reports, was a heightened camaraderie and an enhanced conversation among the musiciansand a sense of added intimacy for the listener. At times on the recording one can hear Wilson walk toward the mic, casually, as if she were singing to herself; at other times the jingle of a bracelet, an intake of breath, a rustle of clothingperhaps Marie Laveau is passing by.
The puzzle that Cassandra Wilson poses now is how to interpret her stylistic shiftsis she taking vocal jazz in a new direction or harkening back to its origins? Maybe these two movements are not opposed, she suggests. "I think both things are happening at once. I'm not living in that time [when jazz began] and I'm thinking about different kinds of constructs, different ways of introducing what was there a long time ago. It's new, but it involves digging deeper, going back to a time that hasn't really been acknowledged." Until now.
Cassandra Wilson, Loverly (Blue Note, 2008)
Jacky Terrasson/Cassandra Wilson, Rendezvous (Blue Note, 1997)
Cassandra Wilson, Blue Light 'Til Dawn (Blue Note, 1993)
M-Base Collective, Anatomy of a Groove (DIW, 1992)
Cassandra Wilson, Blue Skies (Winter&Winter, 1988)
Air, Air Show No. 1 (Black Saint, 1986)