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Australian vocalist Joanna Weinberg is a difficult artist to pigeonhole in one genre. A testament to her versatility, The Piano Diaries is a very personal debut stemming from her restarting piano lessons after a three-decade hiatus, and represents a musical distillation of her eponymous autobiographical one-woman show.
The dozen-song set showcases her various influences yet create a very original whole. Her times spent in South Africa are reflected in the jazz-like township theme of "Daughters of the Empire," a feeling enhanced by saxophonist Mark Ginsburg, while the lyrics to the otherwise Irish-sounding "Freckled Angels," are replete with droll impishness and melodic hooks.
Weinberg's poetic verse on the folk/blues-tinged "Innocence" is reminiscent of Leonard Cohen, without his dark-tinged humor. She purrs through:
So come my darling With your pale wounded feet We'll get out of the spotlights And we'll make love in the middle of George street.
Elsewhere, on the somber and melancholic "Witness," her sensual voice is framed by sparse notes from pianist Rafael Nazario and cellist Kate Adams, as she utters the chilling words:
The heavy shape your body made It takes a month for it to vanish The grass will grow, the wheels will turn And I am there, I am your witness.
Weinberg's time as a Cabaret star endows several of the tunes with a theatrical quality that is more Bertolt Brecht/Kurt Weil than it is Broadway. The lush, almost fairy tale-like ballad "The Artists are Leaving" has hints of classical style, especially during the cello interludes, while the whimsical story of her parents, "Benjamin and Penelope," could easily fit in a Weil opus. The gypsy-informed "The Winds of Fear" conveys its message of wanderers seeking refuge with its bittersweet melody, even if it contains no lyrics.
Whether she is singing an Afro-Cuban song like on "Beautiful Old Man," with its infectious soprano sax solo, or a tongue-in-cheek retro piece like "Piano at the Cabaret," Weinberg brings a unique wisdom-tempered exuberance to both her writing and performance that makes this handsomely designed and impeccably mastered record an all-around delight.
Track Listing: Freckled Angels; Innocence; Daughter Of The Empire; The Artists Are
Leaving; Benjamin And Penelope; The Wings Of Fear; Wide Open Eyes;
Beautiful Old Man; Witness; Mama Buy Your Baby A Piano; Trophy Wife;
The Piano At The Cabaret.
Personnel: Joanna Weinberg: vocals; Rafael Nazario: piano, keyboards, additional
instrumentation; Kate Adams: cello; Mark Ginsburg: soprano and tenor
saxophones, flute; Martijn Hadders: guitar; Jonathan Zwartz: bass; Simon
Fishburn: drums; Blair Greenburg: African drums, percussion.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.