ERIN
BODE
Don't Take Your Time
MaxJazz
Erin Bode isn’t a jazz singer, really,
but rather one of the new style of singer that has risen
to prominence in the wake of Norah Jones’ unexpected
success. There are elements of jazz to Bode’s delivery,
as well as to the arrangements and choice of material on
her debut album Don’t Take Your Time, but they share
equal billing with elements of folk, pop, and easy listening
crooning. Nonetheless, the album is a welcome release by
a singer who shows a lot of promise and knows what makes
a good song.
Bode’s voice is quiet and delicate,
matching her slight build and girl next door, Julia Roberts-like
good looks. That works very well on much of the material
here, such as the album’s title track. Composed by
Bode and pianist Adam Maness, it is a really great pop song
that would, in a better world, be a huge hit record. It
says something about this song that it matches the second
track, the Beatles’ “Here There And Everywhere”
in emotional content and melodic beauty. Listening to these
two tracks, one would likely define Bode as a pleasing,
gentle-voiced folk/pop singer. But there are a variety of
styles still to come. Bode does well with other ballad material,
even if she sometimes doesn’t seem to get the emotional
rise out of the song that one might expect. For example,
her version of the Cyndi Lauper song “Time After Time”
isn’t missing anything on its surface, but it lacks
the emotional complexity of well-known interpretations by
Cassandra Wilson, Miles Davis, and Lauper herself. Somehow,
it just never delivers the passion that the song’s
lyrics suggest. Better is a pleasant song like “You”
where the folky arrangement featuring Meg Okura’s
violin work matches but does not overpower Bode’s
vocals.
On material that demands a less restrained
delivery for its success, Bode is not so successful. Bill
Monroe’s “In the Pines” is a nice song
choice, a song that hasn’t been done to death and
has the potential to sit nicely between jazz swing and country
shuffle. The lyrics are deep, dark, and mysterious, with
the same intense life and death quality as “Mystery
Train.” But Bode’s clear, frail vocal delivery
just doesn’t convey the frightening beauty of the
song. In fact, the song is traditional and has a long history.
There are verses that refer to a train accident and the
decapitation of a railroad man, but those are not heard
here, needless to say. That’s not necessary, but a
more compelling singer could have conveyed the song’s
dark heart of mystery with only the verses that Bode performs
here. So, kudos to Erin for selecting the song, but the
performance is somewhat disappointing. Better is her performance
of Bob Dylan’s “Tonight I’ll Be Staying
Here With You” as a bluesy belter, probably owing
much to Cher’s performance of the same song on the
Jerry Wexler-produced 3614 Jackson Highway album. Bode never
allows herself to growl or belt, but she does convey the
song’s emotion pretty well.
On the jazzier material, Bode sometimes comes
off as a kind of pop Blossom Dearie. For example there’s
Matt Dennis’ “Junior And Julie” which
is a good song for Bode, conveying a sense of innocence
and sincerity that matches her delivery perfectly. The same
is true to a lesser extent on “But Not For Me.”
Though the song demands a bit more of a world-weary view
than Erin is able to muster, she makes it her own and pulls
the song off admirably. Other strong performances include
“I Walk A Little Faster” and Stevie Wonder’s
“If It’s Magic.” Throughout her supporting
cast is never less than inspired, providing delicate settings
for her voice. Bruce Barth, who also produced, provides
some warm Fender Rhodes work, while bassist Larry Grenadier
and drummer Montez Coleman hold down the rhythm section.
Other appearances include vibraphonist Steve Nelson, guitarist
Adam Rogers, and tenor saxophonist Sydney Rodway.
The album closes with a particularly strong
performance, a version of the Irving Berlin chestnut “Count
Your Blessings.” The song, made famous by Bing Crosby,
is perfect for Bode’s voice and for her delivery.
Barth, Grenadier and Nelson provide the accompaniment, leavening
the song with just enough texture and depth to keep it from
becoming saccharine. It’s a triumphant ending to a
CD that is ultimately a mixed bag. Still, Bode shows promise,
and when she embraces her strengths she should be quite
a formidable talent. Like Norah Jones, Bode just needs to
find her niche and stick with it. In the meantime, there’s
plenty to like on Don’t Take Your Time. If she can
write more material like the title track here, her future
is assured.
