Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!

210

Rene Marie: Black Lace Freudian Slip

Dan Bilawsky By

Sign in to view read count
Budding jazz instrumentalists are often told that they need to find their own voice but, ironically, those who use their actual voices are often expected to adhere to the sonic standards of those who came before. Fans and press who value originality in jazz instrumentalists wring their hands in frustration when more John Coltrane clones come into the picture but, on the other side of the coin, the masses applaud and herald singers with voices crafted in the images of jazz icons (e.g. Madeleine Peyroux's Billie Holiday-like voice), creating a double standard that does a disservice to those singers who don't fall in line.

While the ability to interpret songs from The Great American Songbook, and understand and borrow musical mannerisms from notable artists, has undeniable merit, vocalists like the one and only Rene Marie deserve to be measured for their originality in voice, spirit and song. Marie's steadfast commitment to her own vision of music has won her wide acclaim for a string of fine recordings, and placed her in controversial situations, as with her "Lift Every Voice" rewrite of "The Star Spangled Banner," but she always remains confident in her artistic decisions, never letting populist ideals or the changing winds of the music industry sway her from her chosen path.

Black Lace Freudian Slip comes closely on the heels of Marie's personally patriotic Voice Of My Beautiful Country (Motéma, 2011), but the focus is now on Marie-as-composer. Ten of the thirteen tracks on this album are Marie originals and, while her honesty and spirit shine through in each and every performance, she touches on various themes and styles throughout.

"Black Lace Freudian Slip" is a study in contrasts, as Marie uses a sensuous delivery that shows off her feminine wiles, while also infusing her vocals with the type of boastful braggadocio usually reserved for male rappers, but that's only one side of this complex individual. Elsewhere, she touches on a folk-country hybrid that leans toward the sound of Ray LaMontagne ("Wishes"), boisterous pseudo-samba ("Rufast Daliarg"), stunning, soulful displays of vocal intensity ("Deep In The Mountains"), and music with earthy bass and tom grooves that wear textural designs often found in the work of Cassandra Wilson ("Ahn's Dream"). While Marie rails against the notion of people comparing her to other famous voices—like Ella Fitzgerald and Sarah Vaughan—during her aural response to a club owner who told her that jazz singers should interpret rather than write ("This For Joe"), it's hard not to notice a Nancy Wilson-like zeal in her voice on the waltzing "Free For A Day." Here, and on her ode to a drummer's accent ("Rim Shot"), Marie is at her most lighthearted.

With so many different styles and sounds coming in and out of the mix, Black Lace Freudian Slip doesn't really come off as a statement from a jazz singer. Instead, it arrives as a musical gift from one of the most arresting and complex vocal personalities performing today.

Track Listing: Black Lace Freudian Slip; This For Joe; Wishes; Thanks, But I Don't Dance; Free For A Day; Ahn's Dream; Gosh, Look At The Time; Rim Shot; Fallin' Off A Log; Deep In The Mountains; Serenity Prayer; Rufast Daliarg; Tired.

Personnel: Rene Marie: vocals; Kevin Bales: piano; Rodney Jordan: bass; Quentin Baxter: drums; Bill Kepper: acoustic guitar (3); Lionel Young: electric guitar, fiddle (10); Dexter Payne: harmonica (3); Michael A. Croan: vocals (10).

Title: Black Lace Freudian Slip | Year Released: 2011 | Record Label: Motéma Music


Tags

comments powered by Disqus

More Articles

Read Shadow Work CD/LP/Track Review Shadow Work
by Phil Barnes
Published: November 22, 2017
Read Veterans of Jazz CD/LP/Track Review Veterans of Jazz
by Mark Sullivan
Published: November 22, 2017
Read Ariel CD/LP/Track Review Ariel
by Paul Rauch
Published: November 22, 2017
Read Fukushima CD/LP/Track Review Fukushima
by Dan McClenaghan
Published: November 22, 2017
Read Dedication CD/LP/Track Review Dedication
by Dan Bilawsky
Published: November 21, 2017
Read Surface of Inscription CD/LP/Track Review Surface of Inscription
by Glenn Astarita
Published: November 21, 2017
Read "Second City" CD/LP/Track Review Second City
by Troy Dostert
Published: September 1, 2017
Read "Signals" CD/LP/Track Review Signals
by Ian Patterson
Published: April 13, 2017
Read "The Beautiful Day" CD/LP/Track Review The Beautiful Day
by Dan Bilawsky
Published: December 6, 2016
Read "Peace" CD/LP/Track Review Peace
by Karl Ackermann
Published: January 18, 2017
Read "Rekihndled" CD/LP/Track Review Rekihndled
by Doug Collette
Published: April 8, 2017
Read "Happy Juice" CD/LP/Track Review Happy Juice
by David A. Orthmann
Published: July 31, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Please support out sponsor