| Jazz |
Once again, since the beginning of this year, we have received such innovative and beautiful vocal jazz albums from the USA and Canada that this one seems rather dull by comparison. Indeed, Zack Foley’s voice is unique and fits perfectly with the retro style of this album, but vocally it remains too technical, never offering that ‘performer’ aspect—bringing out the actor within him that would allow us to enter his universe. As a result, we simply stand in front of the painting, admire it, and then move on. In fact, a sense of boredom starts to set in by the fourth track, where we begin to feel like the same song has been playing since the beginning.
Foley tackles the standard repertoire but in an unconventional way, distancing himself from the traditional ‘crooner’ sound and letting his tenor voice play a role traditionally reserved for the saxophone. In this spirit, Zack aspires to connect the improvised vocal lineage of Betty Carter, Chet Baker, and Sheila Jordan with the refined lyricism of saxophonists Don Byas and Lester Young. I’ve already had the chance to see other artists attempt this kind of thing, and so far the most remarkable is probably the Manhattan Transfer group, experts in vocalizing who take the place of instruments. It’s hard to follow in their footsteps, unless you form an equivalent group with a vocal palette that offers such diversity that one is surprised at every moment. As it stands, we quickly tire of this album, which feels more like a business card than a true creation.
Currently based in San Antonio, Texas, Foley lived and worked in New York until 2020. (He grew up in Houston.) ‘I loved Frank Sinatra and Harry Connick Jr. when I was 12 or 13,’ he recalls. ‘Then I got into instrumental jazz, and for decades, my heart was in instrumental music. I wanted to get closer to the sound of saxophone-based trio music, which I adore. The Sonny Rollins Trio, the Chris Speed Trio, the Maria Grand Trio: I love the openness of that sound. It always feels right to me.’
If only Foley could capture a bit of the artistry of these great artists, the next album would be entirely different. It must be said that in a single year, when we’ve had wonders like Brenda Earles Stokes with her excellent Motherhood, or Andrea Superstein with her equally excellent Oh Mother, or Olivia Maisel and others, this album is really hard to appreciate. We therefore only give it two stars.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, August 12th 2024
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