This is more than a great singer singing great songs. This is literally life. My new album revolves around personal things like my suffering in the past and my hopes for the future. There are old songs on it as well as more recent material. I’d say that unlike the last two albums I did, which featured covers of jazz classics, this album is simply a lot more personal.
The songs I wrote for it tell the story of my life and while the episodes it touches on aren’t always funny, I think there’s an optimistic feel to things overall. —Elisabeth Kontomanou Everything comes together wonderfully. The songs are more than head tunes. These are full compositions with sections and deep harmonies that move beyond one or two chord vamps.
And the lyrics: so honest, so bold, so real. Autobiographical to the bone, on “What A Life” Elisabeth recalls a difficult childhood because she was different. That little vocal vamp at the end of the song giving evidence that she is past the pain and can talk about her scars without bitterness. Listen to “Where I’m coming From.” It’s an essay. When she asks “was this on earth or some other planet / I haven’t figured this out yet,” man, I said: goddamn, this sister is going all the way there—“there” being the state of self identification of alienation and the realization that just maybe, as Sun Ra always said, just maybe we are not from here; after all here is such an alienating space.
When she got to “wait for me out there, turn around to see where I’m coming from” I was utterly convinced: Elisabeth has crafted an seminal statement at a time when most female vocalists are just trying to get a pop hit. And then the band takes off, exploring all the textures of fearlessly soaring into inner space. It’s collective improvisation at a level smooth jazz can never fathom. That’s a significant part of the total package; the band plays full out. They are not backing Elisabeth.
They are accompanying her. Step for step. Significant in this regard is the sturdy foundation provided by long time musical cohort Thomas Bramerie on bass. “Black Angel” is another burner but this time there are no lyrics, just sounds. Elisabeth’s voice chanting with a harp in the mix complementing Elisabeth’s opening.
This sounds like something Pharoah was doing back in the seventies, especially because Sam Newsome on soprano saxophone is exquisite in both his timing and the texture of his notes counterpointing the beauty of Elisabeth’s gritty improvisations. This is cutting edge jazz, jazz of the rarest sort. Then there is the ghostly “Late Cold Night.” Guitarist Marvin Sewell who has played with oodles of folk including Cassandra Wilson is all up, around and under this tune with those creepy obbligatos that are as sinister as a rattlesnake’s snare. Elisabeth is no petite, cute, girly sounding ingénue. This is a full-voiced, full-bodied woman, fierce in her determination to make it as a jazz singer. On “Late Cold Night” Elisabeth is singing about New York City where she went to hone her craft.
It used to be called paying dues. You know, I left with a very negative image of the States, not of jazz. They’re two very different things. I’m planning to go back to New York, in fact, not necessarily to live there again, but to continue studying jazz. New York is where jazz is alive, where the people who inspire me are.
New York is also where I experienced real poverty and misery, of course. I had to do all kinds of odd jobs to survive. I used to go and get food hand-outs at church, but I hung on in there and I always did my gigs come what may. I had this group back then, the Fort Green Project named after the local neighbourhood in Brooklyn where I was living at the time.
They were a bunch of musician friends from Fort Green. I performed with them until I ran away from home with my kids and ended up living in a hostel for the homeless in Harlem. But no matter all the juggling I had to do - because the hostel closed early in the evening - I still managed to get out there and sing at night! —Elisabeth Kontomanou Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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