フォーマット |
CD |
---|---|
構成数 |
1 |
国内/輸入 |
輸入 (International Version) |
パッケージ仕様 |
デジパック |
発売日 |
2015年06月02日 |
---|---|
規格品番 |
4727779 |
レーベル |
|
SKU |
602547277794 |
構成数 | 1枚
合計収録時間 | 01:08:20
Personnel: Melody Gardot (vocals, guitar, piano, background vocals); Dean Parks, Jesse Harris , Reese Richardson, Mitchell Long (guitar); Irwin Hall (alto saxophone); Dan Higgins (tenor saxophone, baritone saxophone); Gary Grant (trumpet); Andrew Martin (trombone); Clement Ducol (prepared piano); Larry Goldings, Pete Kuzma (organ); Chuck Staab, Vinnie Colaiuta (drums); Pete Korpela (percussion); Clydene Jackson, Maxine Waters, Julia Waters, Heather Donavon (background vocals). Audio Mixer: Maxime Le Guil. Recording information: East West, Los Angeles; Paramount Studios, Los Angeles; Plus XXX Studios, Paris; The Village, Los Angeles. On 2012's The Absence, Melody Gardot made her first shift away from the jazz-tinged ballads that drew such heavy comparisons to Norah Jones and Madeleine Peyroux. Lushly orchestrated, it was chock-full of songs inspired by Brazilian, Latin, and French forms. On Currency of Man, Gardot takes on a rootsier sound, embracing West Coast soul, funk, gospel, and pop from the early '70s as the backdrop for these songs. It is not only different musically, but lyrically. This is a less "personal" record; its songs were deeply influenced by the people she encountered in L.A., many of them street denizens. She tells their stories and reflects on themes of social justice. It's wide angle. Produced by Larry Klein, the cast includes members of her band, crack session players -- guitarist Dean Parks, drummer Vinnie Colaiuta, Larry Goldings, the Waters Sisters, et al. -- and strings and horns. The title track is a funky blues with a rumbling bassline, dramatic strings (a la Motown) and fat horns. Gardot uses the lens of Sam Cooke to testify to the inevitability of change: "We all hopin' for the day that the powers see abdication and run/Said it gonna come.." First single "Preacherman" is similar, employing a wrangling, smoldering blues that indicts racism in the 20st century by referring to the violent death of Emmett Till, a catalyst in the then-emergent Civil Rights movement. A driving B-3, saxophone, and menacing lead guitar ratchet up the tension to explosive. A gospel chorus mournfully affirms Gardot's vocal as a harmonica moans in the background. "Morning Sun" and closer "Once I Was Loved" are tender ballads that emerge from simple, hymn-like themes and quietly resonant with conviction. "Same to You" evokes the spirit of Dusty Springfield atop the punchy horns from her Memphis period, albeit with a West Coast sheen. The nylon-string guitar in "Don't Misunderstand" recalls Bill Withers' earthy funkiness. The song's a groover, but it's also a warning to a possessive lover. "Don't Talk" uses spooky polyrhythms (a la Tom Waits) as brooding, spacy slide guitars, B-3, and backing singers slice through forbidding blues under Gardot's voice. "If Ever I Recall Your Face" is jazzier, a 21st century take on the film noir ballad with glorious strings arranged by Clement Ducol that rise above a ghostly piano. "Bad News" simultaneously looks back at L.A.'s Central Avenue and burlesque scenes. It's a jazz-blues with a sauntering horn section, snaky electric guitar, and squawking saxophone solo. Vocally, Gardot is stronger than ever here, her instrument is bigger and fuller yet it retains that spectral smokiness that is her trademark. Currency of Man is a further step away from the lithe, winsome pop-jazz that garnered her notice initially, and it's a welcome one. ~ Thom Jurek
エディション | Deluxe Edition
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1.[CD]
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1.Don't Misunderstand
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2.Don't Talk
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3.It Gonna Come
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4.Bad News
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5.She Don't Know
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6.Palmas da Rua
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7.Same to You
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8.No Man's Prize
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9.March for Mingus
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10.Preacherman
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11.Morning Sun [For Ezra Richardson]
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12.If Ever I Recall Your Face
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13.Once I Was Loved
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14.After the Rain
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15.Burying My Troubles
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世界のさまざまな音を採り入れたセルフ・プロデュースによる前作から3年、改めてラリー・クラインをプロデューサーに迎えたこの新作では、前にも増してスケールの大きな表現を展開することに成功している。豪奢なストリングスを配したバラードで放つ、孤高の輝きといったら。ブルージーなナンバーでの野太くて深い歌声は、まるでニーナ・シモンのよう。波乱万丈な人生を送る彼女の、魂の成長を感じずにいられない。
bounce (C)桑原吏朗タワーレコード (vol.379(2015年5月25日発行号)掲載)
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