Anita Donndorff: Thirsty Soul

The second album from Argentina-born, New York-based vocalist Anita Donndorff owes its identity to both of her homes. With studio sessions taking place in Buenos Aires and the East Village in Manhattan, and some Argentinians and two Americans contributing to Latin-inflected takes on songbook standards, this notable newcomer proudly displays her history through Thirsty Soul.

Working closely with bassist Paul Sikivie, who arranged the full-band performances (recorded in Argentina) and performs on the majority of the album, Donndorff ably demonstrates her command of lyric, mood, melody and story. Album starter "No Moon at All," with a rubato bridge intro from the leader and pianist Dante Picca, and a sly trumpet solo from Sergio Wagner, seduces in alternating straight time and swing. Dipping into Nancy Wilson territory with "The Old Country," Donndorff makes her mark before ceding space to trombonist Juan Canosa, who works around and responds to the tight-written horns and Picca. Then she delivers a spellbinding "Don't Explain," complete with a welcome spotlight on Sikivie.

"The Great City," sitting at center, features breaks with conga-only accompaniment from Carolina Cohen and highlights tenor saxophonist Guido Baucia's cool-headed blowing. The title track—the album's lone original—stands apart with its stirring vocal intro and all that follows. Donndorff's Nina Simone-esque posture, and Canosa and guitarist Ramiro Penovi's complementary solos, operate on the same wavelength. Kurt Weill's infrequently-covered "Lonely House" proves to be another notable performance, where patience rules and Donndorff delivers in mellow light. "You'd Be So Nice to Come Home To" swings in typical upbeat fashion, with on-point singing, ensemble writing and soloing aligned.

The two remaining tracks—one near album's beginning, the other at its end, both recorded in New York—pair Donndorff with guitar great Peter Bernstein. "Charade" wins out with its bounding feel, the leader's clean delivery and Bernstein's tasteful soloing; and "Ana Luiza" considers Donndorff's gifts for subtlety, easy way with Brazilian music and strong rapport with the guitarist. When operating in such an intimate setting, her considerable interpretive skills are magnified. But that's not to say they're buried with the band. In any atmosphere, Donndorff seems to find a way to shine. An appealing statement indicative of a wonderful presence and bright future, Thirsty Soul truly satisfies.

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