Pigments＜限定盤/Opaque Baby Blue Vinyl＞

A foreshadowing of Pigments took place in 2018 when Spencer Zahn released an abridged version of "Cyanotype" -- a tranquil, floating piece from his instrumental album People of the Dawn -- with sorrowful words and vocals added by art-pop whiz Dawn Richard. The lengthier and from-scratch collaboration here is a progression for both artists. Zahn is a multi-instrumentalist, composer, producer, and arranger who often cites the ECM label and Mark Hollis self-titled solo album, inspirations that are as evident as ever on Pigments, particularly with its foundation in near-minimalist chamber jazz, and a sense that Zahn relates to Hollis philosophy of "Dont play one note unless youve got a reason." To paraphrase another sage, Too $hort, Richard gets in where she fits in, vocalizing on just over half of the sections within the 37-minute composition. She appears sometimes sylph-like, pushed aloft by gentle coaxing from Zahns upright bass and piano. During other moments, Richard is wholly human, basking in physical intimacy atop lapping drums, entreating through whirls of saxophone and strings, and on the finale, gathering strength over a partly mechanized pulse amplifying her ceaseless determination. Those most drawn to Richard when shes in high-BPM prancing mode might find it challenging to acclimate to the slow pacing and open spaces (with drums frequently absent). Moreover, Richard is not so much the primary voice as she is part of an ensemble, sharing the lead role with many of the eight players, such as saxophonist Jas Walton, whose fluttering tenor on highlight "Vantablack," undergirded by bass clarinet and dressed with acoustic guitar, resembles that of Waterfalls-era John Klemmer. Only on "Cerulean" does the singer let loose, and its to confront and grieve ("Are you hurting like youre hurting me?!") with support from needling electric guitar, blasting reeds, and intense swells of electronics and strings. Still, each appearance she makes is halting and deeply felt. Everything provided and guided by her partner coalesces into a quietly powerful flowing sequence. Pigments is not necessarily built for movement, but its as moving as any of Richards previous output. No other album is quite like it. ~ Andy Kellman

ダニティ・ケインでの活動も忘れさせるほどの尖鋭的なソロ作でニューオーリンズのいまを叫ぶドーン・リチャードが、ツアーにも招いたNYのネオ・クラシカルなマルチ奏者と組んだコラボ作。室内楽風のアンビエント・ミュージックが展開されるアルバムで、ドーンはシームレスに繋がった楽曲の上を浮遊するように声を添えていく。ECM的なムードはスペンサー・ザーンのカラーで、ドーンを神秘的な音空間に放り込んで奇才ぶりを発揮する。
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