I've been catching up on some more recent Cassandra Wilson releases. Another Country 2012 features Fabrizio Sotti, an Italian guitarist. He assists Cassandra with songwriting, producing, and of course he plays guitar. Beautiful, expressive, perfect guitar. It is no surprise to hear Wilson collaborate with a guitarist as she is one herself, and her bands both live and in studio have featured guitar and percussion over piano or horns for her preferred sound.
I hadn't heard it since it wasn't just a Cassandra Wilson record, and I wasn't sure about "featuring" another artist. Let's put that to rest. This is a wonderful Cassandra Wilson record made even better with the addition of Mr. Sotti. These two are great for each other. All the things about her great Blue Note releases is here in spades, perhaps just a little sparser than usual, with a small combo of guitar, percussion, bass, and accordion. The songs are all co-writes except the opening Red Guitar by Wilson and a version of O Sole Mio that Wilson and Sotti arranged. If you like Wilson's work for Blue Note (1993-2010), you'll want to hear this.
Coming Forth By Day 2015, a tribute to Billie Holiday, should be exciting news, but instead it is an unfortunately flawed record. Song selection is fine with songs both written by and/or associated with Billie Holiday. But the overly "atmospheric" sound is just too much for my tastes, and the record never seems to leave the ground. What could cause this? Well, for starters, the record was produced by Nick Launay, producer for Nick Cave and the Bad Seeds, as well as countless pop-rock and punk records. Launay may have a fine reputation for the work he has done, but none of that work has been jazz. Additionally, he uses the bass and drummer from the Bad Seeds, and while they may be fine musicians, they aren't jazz pros, and they don't help. Bassist Martin Casey sounds especially wrong for these tunes.
On a few songs, and when there is some semblance of energy, there is moderate success. But the overuse of echo, looped guitars, ethereal, atmospheric sounds and too slow pacing makes this a better nap soundtrack than an engaging record. I should point out that several songs are made better with Van Dyke Parks' string arrangements as well as the work of The Section Quartet and their leader/arranger Eric Gorfain. At least if you're going to go languid, add some nice strings.
Wilson's singing isn't the problem, nor does it overcome the problem. The problem is too much ambiance and not enough energy. A major disappointment from a usually fine artist that has given us so many great recordings.
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