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Put quite simply, Blood & Bone is both the sound of a broken heart laid bare and the sonic summation of a journey toward its reconstruction. It's an album informed by the gravitas of naked truth, finding vocalist Joanna Wallfisch creating and delivering a singular blend of poise, pain, and passion with startling clarity.
As with any path to discovery or healing, there are mixed emotions to be found along the way here. On the album's tied-together bookends"The Ship" and "Blood And Bone"inspiration is born through the acknowledgement that the strewn wreckage of heartbreak can be pieced together; in "The Shadow Of Your Ghost," Wallfisch's painful trip down a relationship's memory lane (and its aftermath) proves wince-worthy in its emotional translucence; self-pity and in absentia conversational reflection presents with the ring of sad truth on the tearful "Anymore"; and the uplifting "Bo Ba Bo" provides a needed dose of hope, strength, and perspective that pushes back in the face of so much uncertainty surrounding it.
While Wallfisch would certainly have been artistically justified had she decided to make such a tremendously personal statement on her own, she chose instead to invite collaboration and fellowship. In doing so, her intentions are amplified and her pure-toned voice is given a raised platform to stand upon. Jesse Elderher co-producer and the album's man-of-many-keyboardscalls to the gleam and the gloaming, drummer Kenneth Salters proves skilled at playing things even-keeled and providing stark percussive thoughts, bassist Pablo Menares solidifies all of the settings he inhabits, and several others shade their guest appearances with various emotional tones. But all join in solidarity with Wallfisch to help produce musical beauty of a many-colored sort that speaks to straight to the human condition.
Whether coasting over The Solar String Quartet's pastoral bed while chewing on the persistence of memory during "Summer Solstice," taking a lighthearted stroll through the radio-friendly "Runaway Child," riding a countrified road on "I'm A Traveler," or exploring the fear and vulnerability that come with love in "The Truth," Wallfisch manages to draw a mirror to herself while also allowing all of us to witness the reflections it produces. In Blood & Bone, everything is revealed.
Track Listing: The Ship; Road Trip; The Shadow Of Your Ghost; Dandelions; Anymore; Lullaby Girl; Summer Solstice; Bo Ba
Bo; Choices; Solitude In A Song; Runaway Child; The Truth; I'm A Traveler; Blood And Bone.
Personnel: Joanna Wallfisch: vocals, ukulele, flute, piano (5, 7, 10, 14), wurlitzer (12); Jess Elder: piano, wurlitzer,
rhodes, mellotron, toy piano, organ, vocals (8); Pablo Menares: bass, vocals (8); Kenneth Salters: drums,
percussion, vocals (8); Elias Meister: guitar (6, 8, 13); Jared Engel: banjo (13); Wayne Tucker: trumpet,
flugelhorn (12); Songbound Children's Choir Of Mumbai: 8; The Solar String QuartetTomoko Omura:
violin (7); Leonor Falcon: violin (7); Allyson Clare: viola (7); Brian Sanders: cello (5, 7).
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock. It was love at first sight . This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed. Not many people remember that Freed's Rock n Roll Band of the 1950's was The Count Basie Orchestra featuring the Guy Singer Tony Bennett (Anthony DiBenedetto) who grew up in Astoria, NYNY right next to my Home Town Jackson Heights NYNY.
I was first exposed to jazz when I heard Red Prysock, Sam The Man Taylor & groups like the Chord Cats recording of Shaboom! It made the Crew Cuts look LAME! Now Jazz, Blues, Soul, Gospel was pretty much joined at the hip back then and I learned that the tasteful Music was featured on The African American Radio Stations which led me to DJ's Like The Bruce, Jocko Henderson, Tommy Dr. Jive Smalls and eventually Symphony Sid Torin, China Valles and Len Pace. This all took place during my high school years and the following years in NYNY and South Florida. I actually flew to Copenhagen Denmark in 1961 to see Stan Getz, (One of my top 3 heroes in the Music Bird, Pres & Getz not necessarily in that order). Sadly Getz had already left town and snuck back into NYNY where he played Birdland (Undoubtedly without a cabaret card due to smack addiction.) No problem for me as I worked for Pan American Airways at the time and enjoyed a 90% Employee Discount.
I met Thelonious Monk, Stan Kenton, Warne Marsh, Lenny Tristano, Art Farmer, Benny Golson, Frank Foster, Dr. Lonnie Smith, among many others over the years.
The best show I ever attended was The Randall's Island Jazz Festival NYNY 1960. Monk & Edward Ellington Kennedy AKA Duke, starred among numerous others. I can not recall the entire Line Up but Monk brought along his Hat Collection which at the time contained I believe he told me 33 or 35 international Hats which he periodically changed often during his Solos. I have been unable to find that roster for that particular festival and since it was long ago I remember mostly Monk & Duke. Paul Gonsalvas played his legendary trademark twenty something chorus solo in between Diminuendo and Crescendo in Blue which was outstanding.
The first jazz record I bought was Firstly, my Bro George was / is a Marine and he sent home his wax collection of LP's from Camp Pendleton CA before deploying to Okinawa in 1956 I think. Bird, Getz, Mulligan & Baker, Erroll Garner, Blakey's Jazz Messengers, Jazz at Newport 1956 and many more. I fell in love with Bird, Getz and Jeru & Chet for openers. Pres to my mind takes the all time Tenor Award and Budo, Piano etc.! However I digress Getz Long Island Sound and every other Getz record that I could find that was 1957 by then and I snuck in to Birdland for the First of many times before I was 18 ( Legal drinking age back then) It wasn't until just after my 18th Birthday that I was carded much to the bouncers chagrin as he recognized me as having being an established customer by then.
My advice to new listeners: Listen to the Music and keep it in the forefront not the background. A Local Band Leader whose name escapes me once said to me Jerry you can make time for the chicks later the Music is in the now and is more important than chicks ever will be. He was correct!
Next see live performances and introduce yourself to the Players most of whom will be respectful. Some, however, are unapproachable such as when I saw Miles so many times but his obvious disdain for certain fans was evident and he always walked off the stage after soloing. (Eddie Jefferson sang words to So What that so indicated this)!