Chile-born singer Claudia Acuna is acclaimed as one of the jazz singers on the rise. She carried a top-flight band into The Egg in Albany on November 22, but didn't carry any particular singing style that is really related to what people know as American jazz. Not any more than Brazilian Flora Purim did when she became a sensation on the jazz scene some years ago (relatively short-lived, as it turned out). Purim had little in common with Ella, Billie, Sarah, Carmen or Abbey. Acuna also has no real American jazz inflection to her style. That's not to say she isn't good. Her Albany show was engaging nonetheless, and as jazz has expanded to encompass influences from around the world, one needn't necessarily see a path back to Betty Carter or Billie in order to be "accepted" in the jazz community. Tony Bennett has more classic jazz sensibilities than Acuna, for example, but the Chilean has her own way with song, an attractive lower-range voice and a nice sense of melody. From her opener, the standard "My Romance," she showed a voice that beckons to the listener It's sweet without being syrupy. She's limited in range, never going particularly high, but she manipulates her phrasies lyrically and melodically with good effect. Also, she refrains from the theatrics and vocal calisthenics that many young singers in other idioms beat audiences over the head with. (Maybe she doesn't have Whitney Houston pipes. That's good!)
On the opener, for example, the rendition of the Rogers and Hart classic was far from ordinary, carrying South American rhythms from her homeland, while she softly, yet strongly, intoned the lyric. Her melodic interplay with trombonist Steve Davis here and throughout the night was very attractive.
Davis, a player with sweet tone, was a great "singer" himself in his solos, sticking to lyricism, not chops display, that fit the music and mood precisely. The fine bassist John Benitez held the bottom together with interesting passages and drummer Gene Jackson was steady and adaptable on drums. Pianist Jason Linder also stood out, his technique considerable. His music behind Acuna was appropriate and challenging. He used percussive attack at times, as the music called for, and went on more adventurous trips as well.
Acuna did songs in Spanish, as well as English, and each statement was musical whether the lyrics were understood or not. "Ay Mariposa" was emotional, not maudlin, and "Nowhere to Go," was a lover's lament put across convincingly.
Acuna's voice would occasionally not hold key, but she got around it easily, and flowed into the next phrase effortlessly. She's a good singer and her development will be one to keep an eye on.
American jazz? Not really. Sophisticated music tinged with Latin rhythms and a nice, floating appeal is good enough and made for an enjoyable outing.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.