Karla Harris: Merge

With the release of Merge, Karla Harris' fifth album, the vocalist refines her sophisticated blend of traditional and contemporary jazz. She follows the time-honored jazz tradition of reimagining familiar standards, complemented by three original compositions that showcase her strength as a songwriter.

What distinguishes Merge beyond Harris' superb vocal artistry is the creative space afforded to her collaborators to explore, improvise and weave their individual voices into the arrangements. Those arrangements, created by Harris and co-producer/pianist Tyrone Jackson, take elements of soul, swing, Latin, blues and funk and fuse them into a jazz setting. They work with two core rhythm sections: bassist Kelly McCarty and drummer Robert Boone Jr. on six tracks and bassist Billy Thornton and drummer Chris Burroughs on the remaining seven, alongside a host of other musical contributions.

There are 10 covers; among those plucked from the American Songbook are two Gershwin tunes. "Nice Work If You Can Get It" gets a smart, light funk makeover; McCarty and Boone Jr drive the neat rhythm, supporting Jackson on organ. The band takes a less-is-more approach as "Isn't It A Pity" gets a more understated backing, allowing the focus to be solely on Harris' silky voice as she taps into the emotion of the tune with each thoughtfully delivered phrase.

Other well-known tunes include a breezy swinging version of "Almost Like Being in Love," with Sam Skelton showing his agility on saxophone. In Harris' hands, "Never Will I Marry," a song made famous by Nancy Wilson, becomes an old-style R&B soul standout. Organ and twin saxophones add to the piece, with Harris' aching vocals outstanding on the bridge.

More recent covers include "Stand By Me," Vocal warmth alongside Jackson's piano standout in this shimmering version. The soulful, funky arrangement of "I'm Still In Love With You" has some excellent saxophone from Mace Hibbard, while the instrumentation on Bobby Caldwell's "What You Won't Do For Love" brings an injection of swing into its R&B roots.

There are three new Harris compositions, and they do not disappoint. The title track (co-written with Jackson) is fresh and lyrically distinctive with subtle vocals winding around Skelton's excellent alto flute work. Harris commands attention with her clarity and diction on the reflective "Sweet Land," the lyrics being half-sung, half-spoken, over well-judged accompaniment. "Happy People Blues," the closing track on the album, is exactly what the title infers and may leave you with a smile on your face.

Never straying far from well-worn paths, Harris' phrasing opens up new twists within established song frameworks rather than pursuing complete reinvention. Her voice, tone and intonation are exemplary throughout and are the foundation for performances that feel both polished and spontaneous. Yet the album's true strength lies in its collaborative spirit; Harris is part of the band, not standing apart as they seek to make the most of every musical passage and lyrical phrase. They deliver a dynamic performance that fully deserves four stars and is pushing for more.

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