Jazz – Page 2 – 7th Level Music

Lonnie Holley gets Zen on “I Am Part of the Wonder.”

Today, the Atlanta-by-way-of-Alabama artist Lonnie Holley unveils his new single, “I Am A Part of the Wonder” (with Moor Mother), from his forthcoming album Oh Me Oh My, out March 10th on Jagjaguwar. “I Am A Part of the Wonder” follows the previously shared title track with REM’s Michael Stipe, “an opportunity to experience beauty moment by moment” (NPR Music), and is one of two Moor Mother collaborations boasted on Oh Me Oh My. Written by Holley alongside Camae Ayewa and Jacknife Lee (The Cure, REM, Modest Mouse), “I Am A Part of the Wonder” also features Lee on percussion, drums, bass, marimba, kalimba, vocals, keyboards, and synthesizer programming. During each Oh Me Oh Mysession, Holley and Lee would discuss the essence of the songs and distill Holley’s words to their most immediate center.

Listen to Lonnie Holley’s “I Am A Part of the Wonder” (with Moor Mother)

Oh Me Oh My is an achievement in the refinement of Holley’s impressionistic, stream-of-consciousness lyrics. Both elegant and ferocious, it sharpens the work contained on Holley’s 2018 Jagjaguwar debut, MITH. Oh Me Oh My is both stirring in one moment and a balm the next. It details histories both global and personal, and taps collaborators like Moor Mother, Michael Stipe, Sharon Van Etten, Justin Vernon of Bon Iver and more to give Holley’s message flight, and to reaffirm Holley as a galvanizing, iconoclastic force across the music community.

Holley’s music and visual art (which is in the collections of The Metropolitan Museum of Art and National Gallery of Art, and is represented by the illustrious Blum & Poe) is much more about our place in the cosmos itself. It’s about how we overcome adversity and tremendous pain; about how we develop and maintain an affection for our fellow travelers; about how we stop wishing for some “beyond” and start caring for the one rock we have. Holley has never delivered this message as clear, as concise, and as exhilaratingly as he does on Oh Me Oh My.

Next month, Holley will perform at the Royal Academy in London, followed by two performances at Big Ears Festival in Knoxville, Tennessee. Dates are listed below and tickets are on sale now.

Pre-order Oh Me Oh My

Listen to “Oh Me, Oh My” (with Michael Stipe)

Lonnie Holley Tour Dates
Fri. Mar. 17 – London, UK @ Royal Academy
Sat. Mar. 18 – London, UK @ Café Oto
Thu. Mar. 30 – Sun. Apr. 2 – Knoxville, TN @ Big Ears
Thu. May 18 – New York, NY @ The New York Society for Ethical Culture

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: Esquivel – Cabaret Mañana (1995)

Cabaret Mañana is an excellent collection of the space-age composer, maestro, bandleader, musician, and arranger, Juan Garcia Esquivel, who was so cool that he could just go by his last name like Karloff, Lugosi, Bowie, Kubrick, Hitchcock, and Morricone.

The compilation covers tracks from 1958 to 1967 and begins with “Mini Skirt,” which was only released in Mexico and Puerto Rico until this album was released in 1995. It’s a fun track about one of Esquivel’s favorite subjects, women, complete with wolf whistle’s and sexy piano riffs.

“Johnson Rag” blends big brass sections with singers singing “Zu-zu-zu” again and again. Esquivel was known as mixing traditional sounds with plenty of outsider stuff like nonsense lyrics just for the sound of them or putting Chinese bells in Latin music. His arrangement of Cole Porter‘s “Night and Day” sounds like it could be a Bond film theme at one point, and then bachelor pad music in the next. “El Cable” is so happy that it could probably banish rainclouds if you played it loud enough.

“Harlem Nocturne” also sounds like an action film theme, and Esquivel did write a lot of music for action TV shows (Miami Vice, The Six Million Dollar Man, and The A-Team among them). “Mucha Muchacha” is one of two tracks on the compilation, the other being “Estrellita,” that are from his Latin-Esque album. Esquivel was so committed to capturing stereo sound on that album that he divided his orchestra in half and had them play simultaneously in separate studios while he and another conductor worked together via closed-circuit television.

Yeah, that was the kind of work ethic he had.

“Time on My Hands” reminds me of some of Ennio Morricone‘s work with its ticking clock setting a constant beat while a slightly sorrowful trumpet plays in another room. “Malagueña” transports you to an exotic desert land on another planet. His take on “Sentimental Journey” is a blast and loaded with his trademarks of space-pop sound, flirting whistles, and those lovely ladies singing “zu-zu-zu.”

The percussion on “Limehouse Blues” is delightfully weird, especially when you mix it with Tiki bar guitar riffs and synths that sound like they’re drunk on margaritas. “April in Portugal” shows off Esquivel’s piano skills. “Question Mark (Que Vas a Hacer)” sounds like the opening theme of a 1960s European sex comedy. His version of “It Had to Be You” is bawdy and beautiful, suitable for night clubs and strip clubs.

“Yeyo” is snappy and a bit bratty (in a fun way). “Lullaby of Birdland” practically struts its sexy stuff down the boulevard on a hot summer day. “Flower Girl from Bordeaux” is full of bold trumpet work, jazz lounge piano, and exotic vocal sounds that create a luscious cocktail.

It’s a fun, lovely compilation from one of the best composers of the 1960s and should be heard by many.

Keep your mind open.

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We can now hear Charles Stepney’s original 4-track demo of “That’s the Way of the World.”

Today, Chicago label International Anthem presents “That’s The Way of the World,” the latest track off Step on Step, the forthcoming double LP collection of home recordings by the late and under-sung legend Charles Stepney, out September 9th. This recording of “That’s The Way of the World” encapsulates an iconic piece of music history: the eventual studio version of the song, co-written by Stepney and Earth, Wind & Fire’s Maurice and Verdine White, and arranged by Stepney for the EWF album and film of the same name, would become one of the biggest recordings ever released by the band. Deemed one of the 500 Greatest Songs of All Time by Rolling Stone, this original 4-track demo version of “That’s The Way of the World” offers an unprecedented look into Stepney’s creative process, and helps us understand what EWF lead singer Philip Bailey meant when he said in 2001: “The success of Earth Wind & Fire, and all our great songs that we made in that era, would not, could not, and wouldn’t have been made without Charles Stepney. He was very much an equal part, or more, than all of us put together.”

Listen to “That’s The Way of the World”

The digital cover art for today’s “That’s The Way of The World” is an old family photo of Stepney’s youngest daughter Chanté (who was just a toddler when her father passed away in 1976), in a high chair at their family home on the Southside of Chicago. About the photo, Chanté says: “People often ask if I’m sad that I don’t remember him, and while I wish I could recall more, my family has done an amazing job with giving me a full understanding of who he was as a man, father, musician, etc… I’m told wonderful stories of how he would prepare my breakfast and put me in the high chair to eat. A couple years ago, Shirley Wahls told me that the lyrics to “That’s the Way of the World” were partially inspired by my birth… Everyone thought it was pretty cool that Charles and Rubie were having a BABY at their age!”

The forthcoming Step on Step, Charles Stepney’s de-facto debut album that releases almost 50 years since his passing, features 23 tracks, most of which are original compositions by Stepney that were never again recorded by him or any other artist. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including today’s “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun,” with lyrics by Richard Rudolph).

The album’s announcement and lead singles “Step on Step,” “Daddy’s Diddies,” and “Look B4U Leap” has brought on excitement from many longtime fans of Stepney’s work, including most recently Tyler The Creator, who played “Daddy’s Diddies” on a recent NTS Radio show while bantering: “Charles Stepney…Genius!”

All of the otherwise unrecorded, previously unnamed original compositions contained on Step on Step were given their titles by Stepney’s daughters Eibur, Charlene, and Chanté Stepney, whose voices are also heard throughout the album, telling stories and sharing memories about their father.

In celebration of Step on Step, The Stepney Sisters and International Anthem are hosting a series of events across Chicago this summer. Dubbed the “Summer of Stepney,” these events will extend through September and include performances by a new large ensemble – Rotary Connection 222 – under the musical direction of International Anthem recording artist Junius Paul. Rotary Connection 222 was created by Paul in collaboration with the Stepney Sisters, and in its current state features Makaya McCraven (drums), Jackson Shepard (guitar), Alexis Lombre (keys), Meagan McNeal (vocals), and Stepney’s granddaughter Brandice Manuel (vocals), with new arrangements written by De’Sean Jones and Jeff Parker.

Summer of Stepney highlights will include a series of documentary webisodes created by filmmaker Brian Ashby (Scrappers, The Area, Hairy Who & the Chicago Imagists), in-stores, live streams, interviews, and an August 18th show called Charles Stepney: Out of the Shadows on Chicago’s grandest public performance stage, the Jay Pritzker Pavilion at Millennium Park.

The next Summer of Stepney event is a day party at iconic Chicago record store Dusty Groove on Saturday July 23rd, featuring DJ sets by Wax Poetics writer Ronnie Reese, and more.

For more information about Charles Stepney, Rotary Connection 222, Summer of Stepney events, and the Charles Stepney: Out of the Shadows performance at Millennium Park, visit www.summerofstepney.com.

Pre-order Step on Step

Listen to “Step on Step” by Charles Stepney

Listen to “Daddy’s Diddies” by Charles Stepney

Listen To “Look B4U Leap” by Charles Stepney

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

WSND DJ set list – Deep Dive of Robert Palmer

Thanks to all who tuned in for my Deep Dive of the music of Robert Palmer. Here’s what I played on July 03, 2022.

Robert Palmer – Addicted to Love
The Alan Bown – Gypsy Girl
Dada – Big Dipper
Vinegar Joe – Rusty Red Armor (live)
Lee Dorsey – Sneakin’ Sally through the Alley
The Meters – Cissy Strut
Little Feat – Willin’ (live)
Robert Palmer – Get Outside
Toots and the Maytals – Pressure Drop
Robert Palmer – Here with You Tonight
Robert Palmer – Man Smart, Woman Smarter
Robert Palmer – Every Kinda People (live)
Bonnie Raitt – You’re Gonna Get What’s Coming
Robert Palmer – Bad Case of Loving You (Doctor, Doctor)
Robert Palmer – Jealous
Desmond Dekker – Moving On
Talking Heads – Houses in Motion
Robert Palmer – Looking for Clues
Gary Numan – I Dream of Wires
Robert Palmer – Some Guys Have All the Luck
Robert Palmer – You Are in My System
Duran Duran – Is There Something I Should Know?
The Power Station – Communication
Robert Palmer – Riptide (requested)
Robert Palmer – Discipline of Love (live)
Robert Palmer – Simply Irresistible
Robert Palmer and James Brown – I Feel Good / Out of Sight (live)

Next week is a deep dive of Failure. Don’t miss it.

Keep your mind open.

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Rewind Review: Astrud Gilberto – 5 Original Albums Verve Collection (2016)

I scored this lovely and bargain-priced (twenty bucks!) mini-set of five classic albums by bossa nova queen Astrud Gilberto while on a late winter trip to California. The set covers records released by Gilberto (Yes, the first wife of Brazilian composer João Gilberto and stepmother to Bebel Gilberto.) from 1965 to 1969. In particular, they are her first (The Astrud Gilberto Album – 1965), third (Look to the Rainbow – 1966), fourth (A Certain Smile, A Certain Sadness – 1966), sixth (Windy – 1968), and seventh (I Haven’t Got Anything Better to Do – 1969) records, and all of them are delightful.

The first album pairs her with the legendary Antonio Carlos Jobim, who wrote her famous hit “The Girl from Ipanema.” Like that song (which is not on this record, but rather on the other classic Getz / Gilberto), this album is an instant mood-changer. Starting with “Once I Loved,” and Gilberto singing that “love is the saddest thing when it goes away,” everything around you adapts to her voice. Her duo with Jobim on “Agua De Beber” is another song that brings a smile to your face, and Joao Donato‘s piano on it is a delight while Jobim’s subtle guitar strumming hits harder than most metal records. Gilberto sings about the nerves associated with new love on “And Roses and Roses” while snappy percussion sizzles and soothes behind her. “How Insensitive” is heart-breaking yet alluring. “Dindi” is a bossa nova standard, and Gilberto does a great version of it here.

Look to the Rainbow is full of stunning arrangements by Gil Evans. Opener “Berimbou” would fit into a 1960’s Bond film with its lush horn section and exotic strings. The horns on “Fervo” might inspire a wild party in the streets. “Maria Quiet” is, I’m sure, being played in a Tiki bar somewhere right now. “Bim Bom” is peppy and bouncy, sure to flood a dance floor in that Tiki bar. “El Preciso Aprender a Ser So (Learn to Live Alone)” is one of those songs Gilberto pulls off so well – longing and yearning mixed with Zen-like detachment.

A Certain Smile, A Certain Sadness teams Gilberto with the Walter Wanderley Trio. Wanderley was an organ maestro who played on “The Girl from Ipanema,” and his band (Jose Marino – bass, Bobby Rosengarden – percussion, Claudio Slon – drums) are all sharp pros. The first two tracks are the double title tracks and both are bossa nova lounge classics. Wanderley’s organ riffs on “Nega” are the sounds of a hundred drive-in intermission countdowns, and Gilberto’s playful vocals on it are a delight. “So Nice (Summer Samba)” is another bossa nova classic, and it’s great to hear Wanderley strut his stuff on it while Rosengarden adds some spicy beats Any melancholy you might be feeling is wiped out by “Goodbye Sadness (Tristeza).” If the closer, “It’s a Lovely Day Today,” doesn’t cheer you up, I don’t know what will.

Windy was cut while Gilberto was living in Philadelphia and raising her and João’s son, Marcelo (with whom she shares vocals on “The Bare Necessities”). A lot of the songs are the album are big and bold, suitable for a Las Vegas nightclub or your party’s hi-fi. Opening track “Dreamy” is a perfect example with its lively brass section. “Never My Love” exudes soft 1960s psychedelia. She nails the title track (a cover of the classic hit by The Association), taking on the identity of the mysterious, playful woman as her own. Her cover of The Beatles‘ “In My Life” is also lovely.

According to the liner notes, Gilberto calls I Haven’t Got Anything Better to Do her “fireplace album.” She wanted to make a record that moved away from the aggressive sounds dominating the 1969 airwaves and could be listened to while curled up next to a fire. She did it. “He’s got a problem if he thinks I need him,” she sings on the opening title track. She had divorced João by this point, so you can’t help imagining her singing that in his direction. The soft, subtle horns on “Wailing of the Willow” mix perfectly with Gilberto’s haunting voice. “The Sea Is My Soil (I Remember When)” again makes you wonder why Gilberto never sang the theme to a Bond film. Everyone can relate to “World Stop Turning” at one point or another as Gilberto wishes time would stop so she could stay in bed with her husband just a bit longer.

It’s a wonderful collection, and a great way to be introduced to her music and bossa nova.

Keep your mind open.

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Daniel Villarreal’s new single is “Uncanny.”

Today, Panamá-born, Chicago-based drummer Daniel Villarreal announces his debut album, Panamá 77, out May 20th on International Anthem (IA), and presents its lead single “Uncanny.” Villarreal has long been a widely known and beloved character on the Chicago music scene. If he’s not DJing somewhere on bustling 18th Street in Pilsen, he’s playing drums with Dos Santos, Valebol, The Los Sundowns or Ida y Vuelta (all bands he co-leads), or sitting in with Wild Belle or Rudy De Anda. Named for his home country and birth year, Panamá 77 is a vibrant and verdant suite of multi-textural, jazz-laced psychedelic instrumental folk-funk that fuses his past and present. He describes the album as, “an affirmation of both my origin story and who I’m today. I see my life and my music as a collaboration of improvisation and intention all in the spirit of community and joy.”

Villarreal wields a wide range of knowledge and skill in various stripes of folkloric Latin music; but, ironically, he didn’t play traditional Latin music until he moved to the States from his hometown Panamá City 20 years ago. His deepest roots in drumming are from the progressive punk and hardcore scenes of Central America, where his bands NOHAYDIA and 2 Huevos 1 Camino toured in the late 90s. His music career rests on those formative experiences.

The first decade of Villarreal’s life in the States was spent living on a farm near Woodstock, IL, where he was a social worker helping migrant laborers reach community health clinics, and raised two daughters. His spare time went to nurturing his passion for drums, which eventually led him to Chicago. After another decade of non-stop sideman work, including the growing national awareness and success of Dos Santos, he began to envision a solo record. A handful of studio experiments got Villarreal close, but it wasn’t until he traveled to Los Angeles for a gig in 2019 that he caught a lasting spark. A simple stereo recording of Villarreal improvising with a first-time ensemble of friends – including Elliot Bergman (Wild Belle), Jeff Parker, Kellen Harrison, and Bardo Martinez (Chicano Batman) – launched the album process, with help from engineer Dave Vettraino.

As Villarreal and Vettraino dove into post-production, the need for more material to fill out the album became clear, so sessions were scheduled with players from Villareal’s and IA’s shared circles. Guitarist Nathan Karagianis, who also plays with Dos Santos, joined them at Jamdek Studios in Chicago along with organist Cole DeGenova and bassist Gordon Walters. In Los Angeles at Chicali Outpost (aka the garden behind IA co-founder Scottie McNiece’s home), Villarreal recorded again with Martinez on bass and synths, Kyle Davis on keyboards, Anna Butterss on bass, and Parker on guitar. Villarreal spent much of 2021 adding layers of percussion, editing and piecing the music together with Vettraino at IA studios in Chicago.

The Chicali Outpost session was recorded by engineer Ben Lumsdaine outdoors in open air. One of the most electric tunes from that session is today’s “Uncanny,” a psychedelic funk dub with spacey William Onyeabor-style synths. Villarreal recalls that “we were jamming in Bardo’s little garage studio the night before we did the recording at Scottie’s house. I remember starting the main groove and Bardo jumping in with a wacky bass line. We celebrated how weird it was even though we weren’t playing the same groove together, it came out in a strange, wonderful way that surprised us.”

Watch Video for Daniel Villarreal’s “Uncanny”

The album also features Aquiles Navarro (of Irreversible Entanglements) on horns for “Uncanny,” and Marta Sofia Honer, who wrote string arrangements and recorded a Curtis Mayfield-style symphony of violins and violas for “Cali Colors” and “18th & Morgan.”

Pre-order Panamá 77

Keep your mind open.

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[Thanks to Yuri at Pitch Perfect PR.]

International Anthem releases amazing, rare recording of Charles Stepney’s “Step on Step.”

Today, International Anthem presents “Step on Step,” by the late Chicago producer, arranger, musician and composer Charles Stepney. Stepney died tragically in 1976, and his legacy includes essential behind-the-curtain work on world famous recordings by Rotary Connection, The Dells, Muddy Waters, Minnie Riperton, Ramsey Lewis, Earth, Wind & Fire, Terry Callier, and many many others. In his music – as producer, arranger, and composer – Stepney routinely transcended trend and convention. Much of Stepney’s work, including from his prolific days as a staff arranger at Chess Records in Chicago, employed prismatic horn and string arrangements (in some cases brought to life by the Chicago Symphony Orchestra). His arrangements – like the idiosyncratic underpinnings of “That’s The Way Of The World,” as recorded by Earth, Wind & Fire, “What Color Is Love” by Terry Callier, or “California Soul” by Marlena Shaw – are still squarely in our hearts nearly fifty years after their inception. His sound has been sampled countless times by artists such as A Tribe Called Quest, The Fugees, Kanye West, Jay-Z, D’Angelo, Gang Starr, and Jurassic 5. Yet all too many of us don’t know his name.

He was a genius relegated to the shadows, whose enigmatic lifeforce was snuffed out far too soon. However, his genius is being brought into brighter light by his three daughters, Eibur, Charlene, and Chanté Stepney, who have spent the greater part of their lives engaged in a quest to exalt their father’s legacy.

Today’s “Step On Step,” the first recording ever to be released under Stepney’s name, comes 3 days ahead of what would have been his 91st birthday. The song was recorded by Stepney to 4-track tape in the basement of his home, sometime in the late 1960s. It features Stepney layering his own performances on piano and vibraphone over a primitive drum machine. It is perhaps the most stripped down impression ever heard of Stepney, an artist known for his epic, orchestral arrangements.

Listen to Charles Stepney’s “Step on Step”

This “Step on Step” single is just a beginning. There will be much more news and music to come from The Stepney Family together with International Anthem in 2022.
#SummerOfStepney

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Review: Bremer / McCoy – Natten

Natten (“The Night”) is a beautiful album of ambience and improvisation from Denmark duo Bremer / McCoy. Written and recorded straight to tape, with no room for second takes, the album becomes meditations and explorations for the bassist (Bremer) and keyboardist (McCoy).

The title track, written by McCoy as he watched a Swedish sunset, opens the record with groovy organ that reminds one of riding in a taxi from the airport into a quiet city as the night emerges. “Mit Hjerte” and “Gratitude” have bright, shining piano from McCoy. “Hjertebarn” sounds like something Vince Guaraldi might’ve dreamed up one night in his studio.

“Nu og Altid” and “April” are dreamy, drifting tracks. “Aurora” and “Nova,” on the other hand, are trippy, cosmic chill-outs. “Måneskin” effortlessly drifts into “Natten (Part 2)” – a welcome return on our relaxing journey – before we end with the sexy and subtle “Lalibela.”

This whole album blends together for an intoxicating sound that lingers with you for a while after you hear it. It’s a delight.

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: Donald Fagen – The Nightfly (1982)

The liner notes of Donald Fagen‘s 1982 masterpiece, The Nightfly, state, “The songs on this album represent certain fantasies that might have been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties, i.e., one of my general height, weight and build.”

It’s tempting to call this a Steely Dan album, since Fagen is the lead singer on the album and many of the studio musicians he assembled for it played on multiple Steely Dan records, but the album is truly all his own. After all, it’s about him growing up in that remote suburb and dreaming of a bright future, such as the one described in the instant hit “I.G.Y. (International Geophysical Year)” in lyrics like “Here at home we’ll play in the city, powered by the sun. Perfect weather for a streamlined world. There’ll be spandex jackets for everyone.” Fagen’s synths and the entire horn section (Randy Brecker, Dave Tofani, Michael Brecker, Ronnie Cuber, and Dave Bargeron) gel so well that it makes your jaw drop.

Speaking of jaw-dropping, Chuck Rainey‘s bass work on “Green Flower Street” is a thing of wonder (and Larry Carlton‘s guitar solo is no slouch). “Ruby Baby” has Fagen professing his love for a woman who doesn’t love him, but he’s determined to win her heart. “Maxine” is a tribute to another woman Fagen knew when he was in school (“We’ve got to hold out till graduation. Try to hang on, Maxine.” The song is a sweet ballad (with jazz piano from Greg Phillinganes), with Fagen telling his paramour that one day they’ll jet to Mexico City or move to Manhattan to escape the urban sprawl…but you’re not sure if it’s just wishful thinking. Michael Brecker’s tenor sax solo is top notch on it.

“New Frontier” is a fun tribute to summer parties in the fallout shelter built by Fagen’s dad (“We’ve got provisions and lots of beer. The key word is survival on the new frontier.”), one of which is attended by a blonde who has “a touch of Tuesday Weld.” Fagen immediately tries to make time with her, claiming he’s moving to the big city “to learn design and study overseas” and that they’re both into Dave Brubeck. Starz Vanderlocket‘s percussion on the track is so hip that it’s almost criminal.

The title track is a slick ode to the late night jazz and talk radio Fagen heard growing up in the NYC suburbs. “The Goodbye Look” is a sultry tale of either a break-up or a professional hit – possibly both – as Fagen sings about “a small reception just for me behind the big casino by the sea. I know what happens. I read the book. I believe I just got the goodbye look.” The hand percussion, bass, and vibes bring in a Caribbean flair and Carlton’s guitar solo is so groovy that it makes you want to drink a cocktail with an umbrella in it. Fagen saves some of his best organ chops for the closer, “Walk Between Raindrops,” a fun, jazzy number with a killer bass line from Will Lee. The whole song sounds like it was a blast to record.

The whole album does, really, and the sound quality of it is astounding. Every note is perfect.

Keep your mind open.

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Review: Morly – ‘Til I Start Speaking

Every track on this album is lovely.

That’s the best way I can describe Morly‘s ‘Til I Start Speaking. On it, Katy Morley explores themes of self-empowerment, love, and introspection. None of it is maudlin. It’s all gorgeous ballads and sultry beats.

The title track (parts 1 and 2) opens the record, beginning with softly rising synths and subdued vocal sounds that build into a sexy jam. The subtle piano chords of “Dance to You” melt like a candle next to a warm, luxurious bathtub as Morley sings lyrics like “I can’t stop listening to this tape you played me the night you took my hand and whispered, come on let’s pretend we’re in love.”

That torch song piano returns on “Sleeping in My Own Bed,” a song about Morley missing her lover (“Only dreams to keep me warm.”), but knowing she’ll be happy and comfortable sleeping at her own place and enjoying the good time she had. The gospel-influenced backing vocals on “Wasted” are a great touch in a song that almost could be a praise of the Lord Almighty as much as a lover.

“Twain Harte” starts with breathy, nearly acapella vocals from Morley until they’re joined by simple, soft piano key strokes and some more gospel touches (organ, backing hums). The guitar on “Up Above” is like something out of a dreamy, classic country bar that only seems to exist in fun roadtrip movies. “I don’t know what I’ve been doing lately,” Morley sings n the opening of “Jazz Angel (Bill).” It’s the kind of song that makes you pause and take a look around at what’s happening – something we all need to do now and then.

“Savior Mind Tattoo” has both an intriguing title and an intriguing sound, mixing what sounds like vibraphone with a brush-stroked snare drum and that soft piano that mixes so well with Morley’s voice. “Where were you the night when I wasn’t sleeping?”, Morley asks on “Superlunar” – a song about longing and what comes after that longing is quenched. The closing track, “Eilogy,” adds some trip hop beats to the mix for good measure as Morley sings about heartbreak and making amends.

The whole album is like a caress from a lover you think about making a life with, but you’re not sure if doing such a thing would screw up what you have. You feel like you’ll both be okay with the few moments you have, but, still, like Morley, you wonder…

Keep your mind open

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[Thanks to Patrick at Pitch Perfect PR.]