Judy Wexler: No Wonder

Judy Wexler imbues every song she touches with a sense of realism, wonder and depth that's ever so rare. An inimitable artist, this celebrated singer adds volumes to each story she encounters, be it a post-millennial jazz tune, '60s counterculture anthem, glimmering Brazilian jewel or any number of other finds.

In the case of No Wonder—Wexler's seventh album, arriving two decades after her debut—she demonstrates her gifts with a marked emphasis on standards. Longtime collaborator/pianist Jeff Colella's two-horn take on "Delilah"—"Dreams and Shadows," from Wexler's same-named 2008 album—served as something of a model and compass pointing toward a desired sonic direction for this project, guiding singer and arranger in putting the pieces together. The results—a dozen dazzlers that speak to Wexler's sophisticated delivery, Colella's keen work with pen and piano, a personnel list that's totally in sync with the leader's sensibilities, and the strength and malleability of the material—are pure magic.

Opening with one of the album's two non-Colella arrangements and the lone modern-era inclusion—the title track, written and arranged by vocalist Luciana Souza—Wexler exhibits a perfect balance between fluidity and precision while radiating real emotional energy atop a flowing ensemble driven by drummer Steve Haas' deft stick work and enlivened by Danny Janklow's tenor saxophone. "The Summer Knows," set in motion with Gabe Davis' alluring bass line, benefits from Colella's piano chording and coloring plus Jay Jennings' moody muted trumpet.

"You Stepped Out of a Dream," vacillating between an attractively ambling swing and steady walking feel, and "Never Will I Marry," swaying with a focused finesse, each put Wexler's interpretive powers on display in wholly familiar yet personalized settings; and "Wish You Were Here," graced by guitarist Larry Koonse's elegant electric, goes the other way, demonstrating how she makes lesser-known lovelies her own. From there Wexler and company ride high on Cedar Walton's "Firm Roots" (with Kitty Margolis' lyrics in play), seduce on Henry Mancini's "Slow Hot Wind" (featuring Bob Sheppard's enchanting soprano saxophone), move from rubato introductions to swinging songcraft on a Brian Swartz-arranged "I Wish You Love," and briefly depart from standards territory with a riveting, klezmer-dusted take on Leonard Cohen's "Dance Me to the End of Love."

Nodding to Nat King Cole with two entries that he introduced into the canon—the oft-ignored "That Sunday, That Summer" and the frequently-covered "A Weaver of Dreams"—Wexler proves genuine and judicious in conveyance. Then, trimming away personnel, she settles in with the core of Colella, Davis and Hass for "The Night We Called It a Day." Highlighting a simpatico partnership with her rhythm section on the way out the door, this leader also shows what sensitivity and subtlety are all about. Playing on the album title with all sincerity here, it must be said that it's no wonder that acclaim follows Judy Wexler wherever she goes. This is one artist who's always on point.