| Jazz |
This will certainly not be among the albums I recommend to you this year. A classical voice, highly technical but ultimately cold—unlikely to stir any real passion. If this album holds any interest, it is to the musicians that one must turn, for they have made a particular effort with the arrangements. At times, in the introductions, Ermelinda almost seems to become an interpreter, but all too quickly, we fall back into a voice that is overly technical and devoid of soul.
That being said, the musicians here are of the highest caliber. Having heard some of them perform live at the Monks in Austin, I am not at all surprised by the musical quality of this album. The lineup includes Darell Lavigne on piano, the excellent Greg Petito on guitar, Anthony Caceres on bass, Pierre Jackson on drums, Marlon Simon on percussion, Myron Simon on trumpet, the outstanding Andre Hayward on trombone, Horace Alexander Young on saxophone and flute—who is also responsible for the album’s beautiful arrangements—Deborah Ungar on accordion, and Steven Barrett Stills on cello.
Given the sheer vocal technique on display, it is evident that Ermelinda Cuellar is, above all, an educator—someone well-equipped to guide aspiring singers with passion. However, when it comes to interpretation, one would prefer artists such as Carmen Souza, Sachal Vasandani, Michael Mayo, or Mafalda Minnozzi—artists who embrace a contemporary vision of their craft, capable of setting aside technique to fully embody their art.
If I managed to listen to this album in its entirety, it is thanks to the superb work of the musicians. This is why the album still earns three stars—for without them, I doubt I would have made it past the second track. It serves as a reminder that arrangements are paramount in an album, and in this regard, Ermelinda made the right choices.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 21st 2025
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