Gergana Velinova: Free

Every so often, an album arrives that does not seek to be admired so much as understood. This effort by Bulgarian-Canadian vocalist, songwriter, and poet Gergana Velinova, titled Free, fits that category. Velinova spent five years writing the album's ten songs. There is not a wasted word or an unnecessary note. Another part of the project is the artistic reunion between Velinova and multi-instrumentalist and producer Kristian Alexandrov, who have known each other since their teenage years and share a deep creative trust, evident in every arrangement. A number of stellar musicians also contributed to the album, including drummer Joel Fountain , bassists Peter Slavov, Miles Hills, and Mojo Jones, alongside saxophonist Cory Weeds, among others.

The opening "Free" immediately sets the mood, with Velinova's vocalese ranging far and wide throughout the arrangement. Jon Bentley's saxophone and Slavov's bass never compete with the vocal line; they simply allow it to unfold. "Orange Moon" shifts the scenery with an easy sway, as Velinova's vocal rides the wave. Vince Mai's trumpet seamlessly integrates into the storyline.

"If You Knew" swings along in a breezy fashion, with Velinova's warm voice capturing the number's rhythmic feel. Malcom Aiken's thoughtful trumpet lines complement lyrics about things often left unsaid. "Two Hearts" continues the thread of opening oneself completely to another person. The tempo has a slight Latin vibe, and her adaptable voice captures the tune's emotional theme.

The album's arc moves from uncertainty and self-discovery to acceptance and renewal, but never in a straight line. We are reminded that freedom is not simply found in changing where we live or what we do. It comes from the courage to become our full selves. The big-toned, expressive tenor saxophonist Cory Weeds appears on two tracks: "Keep Walking" and "A Song About Stones." On the former, with its bluesy groove and background vocals from Shannon Gaye and Gord Maxwell, Velinova's rendition makes its point with quiet determination. Weeds' rich tenor lends the interpretation confidence. On the latter, Velinova ups the tempo, delivering the vocal with more power than restraint. Weeds engages in a series of exchanges with Fountain and pianist Alexandrov that are sleek and insinuating.

The closing "Come A Little Closer," featuring only Velinova and Alexandrov, is delivered with warmth and intimacy, bringing the emotional journey to a close and leaving the listener exactly where the album intended, with human connection replacing isolation.