Sylvia Brooks: Soliloquy

Jazz vocalist and songwriter Sylvia Brooks embarks on an ambitious lyrical odyssey on her sixth recording, Soliloquy, released on SBM Records. As a classically trained mezzo-soprano with a three-octave range, Brooks utilizes an expressive and agile instrument to illuminate the challenges, heartbreaks, and wonders of life. The album is framed as a work of Lyric Jazz comprising four standards and four originals co-written with pianist and arranger Christian Jacob, backed by a talented band. The project brings together strong artistic intentions, complemented by superb piano work on selected tracks.

The album features interesting song choices, with two tracks serving as classic jazz selections: Mal Waldron 's ballad "Soul Eyes" and the 1956 composition "I Was Telling Him About You" by Morris Charlap and Don George. Christian Jacob delivers wonderful piano work on both of these traditional selections. Beyond these, the project explores a broader creative path, blending various musical influences.

The instrumentation used throughout the record shares a commonality with that in jazz, while also embracing textures found across pop and folk styles. When listening to the project as a whole, stylistic elements reminiscent of pop and blue-eyed soul come to mind. Furthermore, tracks like Tom Waits's "Temptation" utilize unique guitar effects that give the song a distinct soft rock or pop-oriented flavor.

Soliloquy offers a vivid storytelling tapestry through thoughtful tracks, including originals like "Talks a Good Game," "A Letter to Sophie," "Lizzie's Dance," and "Instinct of Love," alongside an interesting delivery of Sting's song "Fragile." The album shines as a creative crossover endeavor, blending theatrical pop-cabaret elements into a deeply personal artistic statement.

The vocal delivery showcases consistently theatrical cadences, intonations, and inflections that highlight Brooks's unique dramatic training and artistic flair. However, emphasizing traditional jazz components—such as a driving swing feel, a blues feel, and instrumental improvisation—offers a wonderful avenue for her future projects to lean even more closely into traditional jazz sensibilities (which are not prominently found in this project, but should be the ultimate goal of any true jazz artist).