| | Lenora Zenzalai Helm Spirit Child CD Lenora Zenzalai Helm Discography of CDs
Drawing on influences that range from Abbey Lincoln and Dianne Reeves, to various soul artists, Lenora Zenzalai Helm took an R&B-minded approach to jazz singing on her debut album, Spirit Child. This CD gave the impression that the big-voiced Helm (who is noteworthy as both a scat singer and an interpreter of lyrics) had spent a lot of time listening to post-bop instrumentalists like John Coltrane and Wayne Shorter, but also had a healthy appreciation of Earth, Wind & Fire, Stevie Wonder and the late Phyllis Hyman -- in fact, there are times that Helm's phrasing gives us some idea what Hyman might have sounded like if her focus had been jazz instead of R&B. Helm's interpretations of "My Favorite Things" and the Wayne Shorter pieces, "Footprints" and "Miyako" (both of which she wrote lyrics for), show her to be comfortable in a modal setting, while her version of Wonder's "Summer Soft" acknowledges R&B's impact on her singing. This isn't a remarkable album, but it's a competent one and indicated that Helm was worth keeping an eye on. ~ Alex Henderson
appointed a 1998 Jazz Ambassador, Lenora is a multifacted jazz vocalist & composer; this innovative recording features a creative array of original compostions & striking arrangements of traditional jazz classics performed by a broad range of musicians,
(tenor saxophone); Cecilia Smith (vibraphone); Orrin Evans, Donald Brown (piano); Jiro Yoshida (acoustic guitar); Miriam Sullivan, Ron Carter (acoustic bass); Nasheet Waits (drums); Kahil Kwame Bell (percussion).
Recorded at Nola Recording Studio, New York, New York in July, October and November 1998. Includes liner notes by Stanley Cowell.
Sepia: Marlon Saunders, Arif St. Michael, Rosa Russ (background vocals)
Personnel: Jiro Yoshida (acoustic guitar); David Liebman, Mark Gross (soprano saxophone); Antonio Hart (alto saxophone); Abraham Burton, Branford Marsalis (tenor saxophone); Orrin Evans (piano); Cecilia Smith (vibraphone); Ron Carter (acoustic bass); Nasheet Waits (drums).
Audio Mixers: Bill Moss; Jim Czak.
Liner Note Author: Stanley Cowell.
Recording information: Nola Recording Studio, New York, NY (07/1998-11/1998).
Arranger: Nasheet Waits.
Personnel: Lenora Zenzalai Helm (vocals); Mark Gross, Dave Liebman (soprano saxophone); Antonio Hart (alto saxophone); Abraham Burton, Branford Marsalis
JazzTimes (6/99, pp.106,108) - "...a vocalist of talent....She is most successful on standards, particularly when teamed with soprano saxophonist Dave Liebman..." Lenora Zenzalai Helm Spirit Child Songs Spirit Child Review
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Although Artie Traum has long been a folk-rock artist first and foremost, the word "jazz" frequently comes up in connection with the veteran singer/songwriter and acoustic guitarist. Traum has often brought a major jazz influence to his work, and he is quite capable of functioning in an instrumental setting (the Traum CD Acoustic Jazz Guitar is a collection of instrumental performances spanning 1992-2004). But Thief of Time is strictly a vocal album; it is also one of Traum's most rewarding and consistent efforts. Traum has, on occasion, recorded albums that were inconsistent and uneven, but this 2007 release is memorable from start to finish -- and Traum (who wrote or co-wrote most of the material) excels on tracks that have a strong post-bop jazz influence (such as "Midnight Blue," "Back in the Sugarcane," and the infectious opener, "Bonnie Jean") as well as tracks that don't (for example, "Halifax," "Last Tree in the Bronx," and the haunting "Insult a Man"). A few of the songs find Traum playing some electric guitar (including "Bonnie Jean" and "Cuckoo Bird," another selection with a definite jazz influence), but Traum plays a lot more acoustic guitar on this 48-minute CD -- which is appropriate because even though he clearly knows his way around the electric guitar, he is really an acoustic-oriented artist at heart. Traum's ability to perform instrumentals on other albums does not erase the fact that he is very much a part of the storytelling troubadour tradition; acoustic-oriented settings have a long history of serving troubadours well, and an acoustic-oriented approach certainly serves Traum well on the captivating Thief of Time. ~ Alex Henderson
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