Jazz |
Attention all admirers of voices that transcend tradition and modernity, who offer profound insights into their craft—you’ll be captivated by this album. It exudes beauty, not only through its seemingly simple acoustics but also through its messages. This voice isn’t polished or flawless; it pays homage to beauty that persists within and around every imperfect facet of a perfect plan. For Vanisha Gould, embracing imperfection wasn’t initially instinctive; it was a revelation, a perspective earned with experience.
“All those little things we do, the things I do, to make everything go smoothly—you can bet something’s going to go off track,” Vanisha shares. “That perfect outfit I finally chose? I’ll sweat through it in ten minutes on stage. That flawless makeup? Gone before I even step off the subway for the show.” Amid the constant stream of the unexpected in an artist’s life, Vanisha embodies a choice everyone faces: to be paralyzed by the chaos or to use the cracks in the wall as a canvas for something remarkable. “This album was born when I realized I couldn’t be perfect,” she says. “And you know what? Damn, I love that. It’s such a relief to embrace it.”
If we could all share even a fraction of Vanisha Gould’s talent, the world would indeed be richer and more intriguing. Her revelation came at a pivotal time. Shortly after, she was invited by the Jazz Gallery to compose a full set of music. “Bam! My writer’s block disappeared,” Vanisha exclaims. “I nourished myself with this idea: of imperfection and accepting it.” There’s an unconventional elegance in Vanisha’s voice—a voice that commands attention without force, that navigates her art’s spectrum with ease. I personally savor every artistic facet she develops here, just as I am thrilled by the work of young talents like Michael Mayo. Though their approaches are jubilantly different, both are marked by a powerful, palpable personality justified by their mastery.
One of the album’s most striking elements is the contribution of her band. Jongkuk Kim, the drummer and a notable figure on New York’s jazz scene, brings a deeply emotive style that complements each song’s lyrics. “His sound is refined and perfectly complements my voice,” Vanisha explains. “My songs are heavy with lyrics, and I want every word to be heard.
He enables that and only amplifies when the words call for it.” She adds, “I don’t use a drummer if Jongkuk isn’t available”—a testament to his talent. Pianist Chris McCarthy is described as her “right hand,” bringing each chord and line to life with a lush, vibrant touch. “He can turn anything into a masterpiece,” she says. Bassist John Sims is admired for his unshakable sense of tempo and his enduring respect for her vision and intention for each piece. Vanisha values how intimately they know and respect her music. “They know me, and they approach my music as I’d want them to,” she says. “I know my music inside out, backwards, in my sleep; so do they.”
Here, then, is a truly “essential” album, one you’ll find yourself replaying endlessly. The intelligence of its words, the arrangements, and the musicianship make it a rare delight.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 4th 2024
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