Label: Sunnyside Records, 2021
Personnel - Helen Sung: piano; John Ellis: tenor and soprano saxophone, flute; David Wong: bass; Kendrick Scott: drums + Harlem Quartet - Ilmar Gavilan: violin; Melissa White: violin; Jaime Amador: viola; Felix Umansky: cello.
Although well seated in the jazz tradition, Helen Sung extends that predominant language in this new album by melding it with classical infusions and other elements. Here, she leads a core jazz quartet that includes saxophonist John Ellis, bassist David Wong and drummer Kendrick Scott, but her wild card is played with the beguiling airiness of string arrangements (performed by the Harlem Quartet) while giving life to three new compositions, revitalizing two originals from previous recordings, and celebrating women’s artistry by finding new sonic outfits for pieces by influential female jazz composers.
It’s “Feed the Fire”, a post-bop explosion penned by the late pianist Geri Allen, that opens up the album with the expedite rhythm section in great style. Ellis draws empathy with his tenor skills and there’s a round for the drummer.
Both “Coquette”, inspired by one of the three Romances by German pianist Clara Schumann, and “Elegy for the City”, dedicated to the human losses caused by the pandemic in New York City, were composed by Sung who put a classical spin on them. The former, takes us from a classical ballroom dancing to a Brazilian groove that invites Ellis’ flute to the spotlight; in turn, the latter piece joins the poignancy of Chopin, the delicacy of Bill Evans and the melodic sentiment of Michel Legrand in a nuanced 3/4 effort that becomes Latinized for a moment. Speaking of 3/4, Mary Lou Williams’ aptly orchestrated “Mary’s Waltz” holds the step firmly while the violinist Melissa White shines, followed by improvisations from Wong and Sung.
Swinging propulsions are not rare and can be enjoyed on both Toshiko Akiyoshi’s “Long Yellow Road”, which carries a hooky rhythmic pattern in the lower register and stylish string details, and Marian McPartland’s “Melancholy Mood”, whose title stops making sense for a little while, after halfway.
Whereas “Lament for Kalief Browder” runs in circles with a cello figure and a spiraling soprano dancing atop, “Sungbird”, delivered in five with a drum-less configuration, flaunts an interesting fusion of Shostakovich and tango. These compositions were originally recorded in 2018 (Sung with Words) and 2007 (Sungbird album), respectively.
Carla Bley’s playful “Wrong Key Donkey” - first recorded by Gary Burton Quintet in 1976 - carries hints of funk and pronounced accent, being reinforced with a classical vein that assimilates both Eastern and Western currents. It’s perhaps the album’s most free-ranging piece.
Despite being quite cinematic as the well-integrated strings add emotional underscore, you won’t find eerie atmospheres or darker corners on an album that is liberally enveloped by a positive energy. That’s where the force of Sung’s music comes from.
B+
Favorite Tracks:
01 - Feed the Fire ► 07 - Long Yellow Road ► 08 - Wrong Key Donkey