| Jazz |
Talk to enough artists before their album drops, ask them why they chose that particular title, and you’ll often get something along the lines of, “Honestly, we just couldn’t decide; so we went with that.” But in this case, the opposite rings true. Looking for the Light is more than a title; it’s a statement of intent, an apt reflection of an album that feels as if it has been slowly and deliberately aged, like a fine cognac in an oak barrel. There’s beauty in the sound, beauty in the voice; a simplicity that turns luminous in the fragile complexity of a voice delicately framed. And what a voice it is.
The collaboration between Shiri Zorn and George Muscatello goes back about a decade. Zorn, already praised by DownBeat magazine—“[Shiri] has found the perfect setting for her gem-like voice in an unusual trio with Muscatello’s spare, ghostly tones and the simmering Brazilian beats of percussion master Mauricio Zottarelli” (Allen Morrison, DownBeat)—has never sounded more at home.
I’ll admit it—I have a strong aversion to cover albums that do little more than echo the originals, often falling short in the process. That is not the case here. These artists have taken their time, not merely interpreting but reimagining well-worn standards. They add elegance and depth to songs that were already magnetic in their original form. This is an album grounded in the artistry of three musicians for whom “Art” truly deserves a capital “A.”
It’s jazz, yes; but jazz that dips its toes into the intricate waters of Brazilian standards. And let’s be clear: if there’s a genre that can be as daunting in its complexity as it is dazzling in its beauty, it’s Brazilian music. Yet rather than mimic it, Zorn and her collaborators make these songs their own, rewriting and reshaping them until they become a seamless part of her artistic narrative.
George Muscatello, a guitarist widely respected for the sophistication of his improvisations; and a cherished faculty member at Skidmore College’s music department; shines on this record. His students are lucky to have him. Here, his contribution is nothing short of brilliant. It’s not just about technical prowess (though there’s plenty of that). What sets Muscatello apart, much like Nguyen Lê, is his meticulous search for tone and texture. His guitar doesn’t merely accompany; it builds a world. A world where Zorn’s voice floats, flourishes, and finds its light.
The choice of percussionist Mauricio Zottarelli further deepens this sonic palette. His work is all about nuance and subtle beauty, drawing out the poetry of the album with every brush, every beat. This is music for those who appreciate sensitivity and intention. It’s not background music. It’s music to sit with, to return to—again and again. Only after six full listens, perhaps, will the album begin to fully reveal itself. Because what we have here is the work of three master craftsmen, artisans who polish their art like a jeweler working a rare gem. This is an album not just to hear, but to feel; an album that holds Shiri Zorn’s voice aloft, suspended like light in air.
It ends on a shimmering note with “Dancing in the Dark,” a closing track that does just one thing: it makes you want to go back to the beginning. This is a record built on thoughtful choices, where every note matters, where nothing is accidental. The result is a deep, intellectual, and emotional listening experience; one that leaves you feeling genuinely well for having taken the time to enter its world.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor for All About Jazz
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, April 14th 2025
Follow PARIS-MOVE on X
::::::::::::::::::::::
Musicians: Shiri Zorn (voice), George Muscatello (guitar), Mauricio Zottarelli (percussion)
Titles: Garota De Ipanema, It’s Alright With Me, So Nice (Summer Samba), Nothing At All, Prayer, Haunted People, Shadow Soul, Dancing In The Dark