La Tanya Hall: If Not Now, When...

With If Not Now, When... , La Tanya Hall emerges not just as a vocalist but as a storyteller, deeply connected to the quiet power of a well-chosen song. This is her most personal statement yet, an album crafted with intention rather than for show, where each track earns its place through lyrical depth and emotional impact. Hall avoids the obvious, assembling a selection of lesser-known material that invites the listener inward, asking for attention rather than applause. Supporting this effort is a stellar group of musicians led by pianist Cyrus Chestnut, along with bassist Gerald Cannon, drummer Mark McLean, and guitarist Marvin Sewell, along with several guests, including trumpeter Eddie Henderson, alto saxophonist Gary Bartz, and harmonica virtuoso Gregoire Maret.

From the opening notes of Horace Silver's "Pretty Eyes," the mood is set. Hall's voice is warm, smooth, and relaxed, with a conversational tone that recalls a time when singers relied on the song to express emotion. Cyrus Chestnut proves to be an excellent partner with his alternating probing and supportive approach. Henderson's muted trumpet and Bartz's alto saxophone add depth, shaped by decades of experience. Hall's strength lies in her phrasing and her respect for storytelling. On Randy Newman's "Let's Burn Down the Cornfields" and Oscar Brown Jr./Tommy Turrentine/Julian Priester's "Long As You're Living," Hall navigates the complex emotional landscapes with clarity and restraint, with no excess, no attempt to dramatise, only a patient unfolding of the meaning. Bartz's alto is positioned effectively on both tracks.

On "Lullabye of the Leaves," Hall accelerates the tempo, riding Chestnut's piano figures and Henderson's confident trumpet statements. In the out chorus, she pushes further, launching into multiple bars of vocalese that reinforce her jazz credentials and her ease in operating firmly within the tradition. Duke Ellington's "Azure" is another emotional high point. Backed only by Gerald Cannon's nimble, big-toned bass, Hall treats the song as a meditation, lingering on key words as if weighing their meaning. There is a deep calm here, tinged with longing communicated through subtle shifts in tone and dynamics.

The closing track is an Aretha Franklin original "Day Dreaming," which is a fitting romp as Hall leans into swing and spontaneity, even incorporating some overdubbing. Gregoire Maret's harmonica introduces a bright sound as he plays with charming self-assurance.