Monika Borzym - Girl Talk

MonikaBorzym - Girl Talk
2011, Sony Music

Monika Borzym’s heroes have alwaysbeen trumpeters:  Miles Davis, Chet Bakerand Terrence Blanchard were her gateway into Jazz.  While there, Borzym was captivated by thedivergent voices and styles of performers such as Ella Fitzgerald and CarmenMcRae.  The Poland-born crooner studiedin the United States at Miami’s Frost School of Music, furthering her love andknowledge of jazz and classical forms under teachers such as Lisanne Lyons,Larry Lapin, Ira Sullivan and Shelly Berg.  During her time at Frost, Borzym met guest lecturer Matt Pierson (JoshuaRedman, Chick Corea, Pat Metheny), who is Borzym’s primary collaborator on herdebut album, Girl Talk.

 Borzym opens with a cover ofAmy Winehouse’s "You Know I'm No Good", showing off a sweet andsultry voice that would be right at home in a 1930's gin joint. Monika Borzymdelivers crisp lines with a polished presence that belies her 19 years, and herinstrumental accompaniment is first class. "Extraordinary Machine"finds Borzym taking on a manic, talk-sing lyrical barrage in conjunction with aminimalist arrangement. The result is an intriguing tune that will leave youdizzy yet satisfied. "Even So" stands out from a string of exceptionalperformances, with Borzym imparting a mature presence and seasoned melancholyin dulcet tones that will have you quietly on the edge of your seat.

The opening cadence of"American Boy" (Estelle) carries vague suggestions of Jobim's"Girl From Ipanema". This is no retread, however, as Borzym launchesinto a modern jazz tune that remembers its classic heritage. Borzym digs into a1970's singer/songwriter pastiche for "Field Below", which bears avague musical resemblance to Procol Harum's "Whiter Shade Of Pale".The song is elegant and refined, with a gorgeous melody, and Borzym walks ithome like a pro. “Appletree” (Erykah Badu) shows a more modern, soulful jazz sound.It feels as Borzym is a bit rushed by the arrangement here, but it all worksout well in the end. "Down Here Below" (Abbey Lincoln) is a gorgeous,blue recitative that drips with regret. Borzym's voice is never lovelier,taking on a reserved air that is full of an eloquent and desolate beauty."Gatekeeper" (Feist) is cut from similar cloth, but woven with moresubtlety.

 Borzym goes Vegas on "DryCleaner From Des Moines", a frenetic little tune that borders on thevestiges of bebop. "Abololo" (Marisa Monte) slows things down, with atentative piano leading the way for Borzym's lush vocal line. "PossiblyMaybe" (Bjork) is well intended, but becomes something of an undirectedmess in spite of Borzym's attempts to save it. Girl Talk closes on apositive note with an unconventional cover of Pink's "Thank You" thatis true to the original but puts Borzym's distinctive stamp on the song.

Monika Borzym has a captivatingvoice, and a presence that's bewildering in one so young. This is the sort ofalbum you simply can’t put down; Borzym’s call is like that of a gentle Siren,relentlessly pulling you in.  GirlTalk is one introduction you won't soon forget, as Borzym appears poised tobecome one of the next big names in vocal jazz.

Rating: 4 Stars (Out of 5)

Learn more at www.monikaborzym.com or www.myspace.com/monikaborzym. 

           CD                    Download             iTunes

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John Shipe - Villain

John Shipe - Villain
2010, Involushun Records

Villain opens with "Lion", an interesting reflection on culpability, responsibility and choices.  Delivered in a folk style, Villain displays a story-teller's flair and an aurally pleasing voice that calls to mind thoughts of Paul Simon and Elvis Costello.  "Villain" finds Shipe exploring the human tendency to root for the bad guy, whether in romance, movies or real world events.  It's a cute bit of songwriting, displaying a sense of wit that will appeal to fans of Lyle Lovett and Randy Newman.  "Love Belongs To Everyone" invokes images of a melancholy Elvis Costello, as Shipe engages in a good old fashioned dose of mutual self-pity.

Shipe entertains guest, and 2010 Wildy's World Artist of the Year Halie Loren in a duet on "Hard To Believe", an intriguingly sad love song.  Shipe sticks to his easy-going vocal style, while Loren offers a gorgeous husky alto sound to the mix.  The best moments come when Shipe and Loren blend their voices in harmony; the dichotomy of their respective sounds blends almost in spite of their distinct differences.  "What Right Do We Have To Fall In Love?" finds Shipe exploring the dysfunctions of love from the other side of the looking glass.  It's a unique perspective that works well.  Shipe deeps dig into romantic dysfunction with "Another Disaster", creating an incredibly catchy pop song in the process.  The comparisons to Costello are never stronger than they are here, and never more well deserved.  You'll be hearing this one in your head at inopportune times for days.

"No Use Crying Over A Spilt Life" blends apt, intelligent, lyrical prose with a thoughtful singer/songwriter arrangement that waxes and wanes with the emotional angst of the song.  This might be Shipe's finest songwriting to date.  "Dead Kite" is an emotional still life, a musical monologue written from the edge of a relationship's abyss.  Shipe examines the carnage from outside for the first time, waxing poetic on what drew him and what finally drove him away.  Villain closes with "Feel Good Song", a subtly cynical exploration of humanity's ability to make themselves feel better by burying themselves in ideas and reminiscences of the past and using them as an excuse for inaction in the present.  Shipe's focus here is religion, but may not be an outright attack on faith so much as an attack on people's desire to hide behind it.

John Shipe attacks social constructs with shadows and light on Villain, exploring the human weaknesses that drive mankind to do bad things rather than berating humanity for being anything other than it's cut out to be.  Shipe mixes cynicism and hope in unlikely measures while invoking thoughts of Paul Simon, Randy Newman, Lyle Lovett and Elvis Costello across the eleven songs presented on Villain.  The album is somehow more than the sum of its parts.  While Shipe's songwriting and musicianship are worthy of note, he possesses a quiet cult of personality that occasionally raises his performances to sublime.  There are certainly some quiet moments on Villain, but those quiet moments fade with successive listens.  This is one Villain that will grow on you.

Rating: 4 Stars (Out of 5)

Learn more about John Shipe at www.johnshipe.com or www.myspace.com/johnshipemusic.  Villain is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Wildy's World Artist of the Year for 2010

Just as with Song of the Year, the Artist of the Year is a difficult pick.  This competion was actually a lot closer than the song category as there are several artists in this year's countdown with valid arguments both for their albums and their accomplishments beyond the recording studio.  While not a requirement to be named Artist of the Year, our pick was a Wildy's World Artist of the Month in 2010 and is the only artist to place two albums in this year's Top 60 Albums.  With an entry at #32, her live album Stages, and this year's #3 album After Dark, as well as her breakthrough success in Japan and a stunning voice, Halie Loren rose above a very talented pack during 2010. Congratulations, Halie Loren.  You are the Wildy's World Artist Of The Year for 2010.

Wildy's World Top 60 Albums of 2010: #3

...#3

3. Halie Loren – After Dark
Halie Loren is already a star in Japan; it's only a matter of time before she recreates such success in the US and Europe.  Loren has a voice that is right at home amongst the Great Ladies of Song, and an ease of delivery that marks her as a natural.  After Dark is her finest effort to date.

Wildy's World Top 60 Albums of 2010: 40-31

We're back for another day of the Wildy's World Top-60 of 2010.  We're moving quickly to crown the top album of the year on New Year's Eve, as well as the Artist of the Year and Song of the Year.

40. Dana Wells – The Evergreen EP

Brilliant debut EP from the Washington D.C. based singer/songwriter with a bright future.

39. Alesa Lajana – Secret Garden

Lajana is an amazing songwriter who creates magic with her voice and on guitar.  Perhaps one of the best all around-talents in Indie music.

38. The White Ravens – Gargoyles And Weather Vanes

Brother and sister Amy and Will Bennett are a duo on the rise.  The chemistry and sound here are unforgettable.

37. Mike Farris – The Night The Cumberland Came Alive

The former Screamin' Cheetah Wheelies front man continues to impress with a mix of Americana and Gospel in an inspired performance given in the wake of the great flood in Nashville.

36. Darius Rucker – Charleston, SC 1966

Rucker's seemingly improbably rise as a country music star continues with perhaps his most poignant and subtle songwriting to date.

35. Kate Rusby – Make The Light

Rusby's voice is the fabric of dreams.

34. Fozzy – Chasing The Grail

Chris Jericho and Fozzy bring the muscle on a heavy hitting album full of distinctive pop sensibility.

33. The Flutterbies feat. Maureen Davis – The Flutterbies

Broadway diva Maureen Davis shows she can rock.

32. Halie Loren – Stages

The first (likely of many) live album from the engaging voice of Halie Loren.  The best live album of the year.

31. Kate Miller-Heidke – Curiouser

Yes, this album was first released in 2008, but it took until 2010 for Curiouser to drop in the Western Hemisphere.  A brilliant mix of songwriting, dance beats and kitsch.  Miller-Heidke has an operatic voice and a saucy tongue, a combination that has icon written all over it.

Halie Loren - After Dark

Halie Loren - After Dark

2010, White Moon Productions

 The past year has been a momentous one for Halie Loren.  Winning the Just Plain Folks Award for Best Jazz Vocal album to becoming a major label artist in Japan (her album They Oughta Write A Song went to #1 on the Amazon Japan charts and stayed in the top-10 for several days.  The crowds in Japan have been growing, and would seem to portend the success that seems inevitable back home in the States.  Loren also released a successful live album, Stages, showing off the line energy that makes her an in-demand performer.  Loren returns on November 16, 2010 with a new album of studio recordings.  After Dark mixes original and cover tunes and shows a somewhat lighter side of Loren, who is again joined by capable skills of pianist Matt Treder, bassist Mark Schneider, Chris Ward on guitar and Brian West (percussion), with guest appearances by guitarist Jack Jezzro.

Loren opens with “After Dark”, a theatrical ballad of forbidden love perfected in secret.  Loren burns with desire, the many levels and textures of her vocal sound sparkling in the dark light of sensuality and longing.  This is an amazing start full of power and emotion.  Loren sings in English and Spanish on Jobim’s “Waters Of March”, finding a place that is subtle and refined but thoroughly in the moment of the song.  “Gray To Grand” is a Loren-penned piece of sweet and breezy jazz/pop with a pretty melody and a light feel; a nice change of pace with a developing worldview full of optimism.

“La Vie En Rose” is one of those songs that artists tackle almost at their own peril.  Edith Piaf being the icon that she is, her signature song is one that gets butchered more often than not.  Halie Loren gives a bravura performance in flawless French, as if she were born to sing it.  “Thirsty”, another Loren original, is a song of unequivocal longing and desire with an arrangement that sounds like it might have come out of a Sting recording session circa 1988.  It’s an amazing bit of songwriting and seems to represent a step forward for Loren as a songwriter.  Loren goes a bit free form in her take on Ray Henderson and Mort Dixon’s “Bye Bye Blackbird”, offering a highly interpretive vocal.  Loren works this for all it’s worth in a flawless performance.  The band is right there with her at every step, with pianist Matt Treder in particular standing out. 

Loren interprets Bobbie Gentry’s “Ode To Billie Joe” as a slinky blues number and absolutely inhabits the song.  This is one of those performances after which you simply sit back and say, “Wow.”  Loren takes the air of mystery of the original and raises it a notch.  John Shipe joins Halie Loren for a duet on “Beyond The Sea”.  This is an opposites attract pairing, as Shipe vocally sounds like a lightweight next to Halie Loren’s full voice.  The mix works because of the contrast, but they do sound mismatched at times.  Loren takes on Duke Ellington’s “In A Sentimental Mood” in another “Wow” moment that smooth and lush; artful and rife with emotion.   Loren has fun with Stevie Wonder’s “Happier Than The Morning Sun”, a celebratory love song that’s jubilant in its aspect and refined.

Loren gives Tracey Chapman’s “Give Me One Reason” a surprising read; putting her own distinctive stamp on the tune.  It might take a couple of listens to get into this arrangement, but the song will grow on you.  “It’s You” is a sensual song detailing a long distance love affair.  It’s the textures of Loren’s voice that stand out in a chill-inducing performance.  Jack Jezzro takes on final turn on “Time To Say Goodbye”, while Loren makes the chorus absolutely soar with nuance and a sort of beautiful grit.  It’s a magical moment where the artist, Loren, rises above her art into the sublime.  After Dark closes with a cover of Joni Mitchell’s “Carey”, blending Caribbean, swing and pop styles.

It’s hard to imagine Halie Loren not being a star.  With a masterful voice that’s part Etta James and part Sarah McLachlan, a subtle touch that allows her to blend vulnerability and sensuality unlike any other artist currently in jazz or pop music, and a talent for phrasing that’s uncanny, Halie Loren is the complete package.  After Dark shows a slightly lighter side to Halie Loren, but at the same time shows her gaining gravitas as a performer.  This could be the breakout album in the US; the one that takes Halie Loren from a known quantity to the status of being a big name.  Whatever happens on the charts or in the popular media, there will be little doubt to those in the know that After Dark is one of the finest vocal jazz albums of 2010.  It’s certainly a Wildy’s World Certified Desert Island Disc, a must have album.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. After Dark drops on November 16, 2010.  Pre-orders are available from Amazon.com for both CD and Download.