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Kenny & Leah may create the kind of jazz that may bring to mind hotel bars and telethons, but take a good listen to their new album April In Paris (self released), and you’ll hear a singer (Leah McCoy Soderblom) who knows how to wrap herself around a song, and a saxophonist (Kenny Soderblom) who plays beautifully.
If you’ve read any of my jazz reviews, you know I’m not someone who is too fond of vocal jazz, but give me someone with a voice worth listening to and I’ll be a fan. There is a chemistry between the Soderblom’s and their backing back, and I love the dialogue that Kenny and Leah share with each other throughout the album, it’s as if Leah is saying something while Kenny replies in his own fashion. What I found interesting was their medley of “Lulu’s Back In Town” and Blood, Sweat & Tears‘ “Spinning Wheel”, which may be two unrelated songs from very different eras, but through their union the listener realizes that perhaps the “someone” being described in “Spinning Wheel” could very well be the Lulu in question, and thus the “spirits” of both songs finally meet and they can ride their painted ponies all night. With a musical nod to “The More We Get Together” which is heard as the song comes to a close just as BS&T did it in their version, you realize the medley was intentional.
Vocal jazz tends to be locked, but when it is (or feels) spontaneous, it feels good. April In Paris is the sound of April showers that helps bring things to bloom in the following month.
When an album has a track listing featuring 21 different songs, I’m thinking “damn, this better be good”. In truth, Serene Poetic (Shemspeed) by Dreams In Static is not only good, it’s pretty damn good that despite some of its flaws, holds up incredibly well.
It’s a 21-track instrumental album, so the dialogue can be found in the music. They cover a wide range of different styles, flowing in and out of the melodic, structured, jazzy, soulful, funky, and sometimes hard hitting tracks that would be perfect for surf/skateboard films/videos, potential hip-hop/electronic samples… let me stop here for a moment. Next paragraph please.
Sometimes these songs sound like they would be perfect for hip-hop and electronica. The beats are sometimes slightly off, so either the drums were played live or the slightly-off groove was intentional. This is something a bit of editing can fix, but it’s very atmospheric, or to paraphrase jazz musician Eddie Harris, it’s music in search of a movie. The title of the album Serene Poetic is very appropriate, for they are poetic in nature, never going above or beyond where it needs to be. Some songs, like “Magic Carpet”, “Befalllen”, and “Lost/Forgotten”, would have been nice if the rhythms were tighter. Being slightly off isn’t a nuisance, but perhaps their intention was to not make it so mechanical. The human lurks within the machine, perhaps why I found myself putting certain tracks on repeat.