Cassandra Wilson was one of the more highly regarded jazz singers of her time, which ended just recently at age 70. A fiercely independent artist whose career was long and varied, she became most famous for her jazz covers of blues, rock and pop tunes, but was equally respected for her own well-crafted songwriting, often in collaboration with select others.
She was not an overnight success. From 1985-1992, she made seven records for the JMT label, one Japan-only release, and one for DIW/Columbia. Most of this time she was associated with New York's M-Base collective headed by Steve Coleman and focused on improvisation within a funk-jazz-soul hybrid. These early records received some critical praise, but did not sell particularly well until she recorded her first of three standards records, the beautiful Blue Skies in 1988. Recorded with Mulligrew Miller on piano, Lonnie Plaxico on bass, and a young Terri Lynne Carrington on drums, Wilson quietly turned ten classics from the great American songbook into priceless performances. The supporting trio was exceptional, and Wilson's contralto delivered smokey, sensual versions of every song. She continued recording for JMT, making five more records with the label. Live and She Who Weeps (both 1991) charted and were somewhat successful. Unfortunately, her JMT period releases are not available for streaming, though that may change now that she has passed. A few of the Blue Skies songs show up on the Sings Standards 2002 compilation,
Then in 1993 she signed with Blue Note, and debuted the blues-pop-country-world music jazz blend that would become her trademark on the highly successful Blue Light 'Til Dawn. In 1995 she repeated the formula on New Moon Daughter, which went to #1 on the jazz charts, received broad critical acclaim, and won a Grammy for Best Jazz Vocal Performance.
1997 saw here return to standards on Rendezvoux with pianist Jacky Terresson. It's good, but whether it's Terresson's arrangements, his playing, or the choice of material, it pales in comparison to Blue Skies. Next up Traveling Miles 1999, a bold move to cover Miles Davis songs and in several instances, to add lyrics to his songs. It is hit and miss, with moments both sublime and baffling. But you've got to respect her for taking the project on, and it sold well and charted high.
Belly of the Sun 2002 is a classic eclectic collection of songs for reinterpretation. Covering Robbie Robertson, Antonio Carlos Jobim, Bob Dylan, James Taylor, Mississippi Fred McDowell, Jimmy Web, Robert Johnson, and others, and including four Wilson originals, some listeners wondered "Is this jazz?" The answer to that question only matters to high brow snobs. It's a solid record with few imperfect moments, but that happens sometimes when you still take chances, and Wilson does indeed take chances.
Glamoured 2003 continues the hot streak. Wilson writes half the songs while the rest is well-chosen, thoughtfully arranged covers. Producer and guitarist Fabrizio Sotti leads a keyboardless ensemble and brings out the best in Wilson. Almost everything works, and her version of If Loving You Is Wrong elevates an already classic song. Glamoured does not mean dolled up, it means enchanted, bewitched, and the title is perfect.
Produced by T-Bone Burnett, Keefus Ciancia and J.D. Foster, Thunderbird 2006 is Wilson's least jazz-like record, and continued to alienate her original "real" jazz fan base. Too many keyboards and electronics get in the way of her usual sound, but the record is still good. Just not quite as good as her best work.
Wilson returns to standards on Loverly 2008, and it is among her better work, and won her another Grammy. Jason Moran's piano, Marvin Sewell's guitar, and frequent contributor Lonnie Plaxico on bass lead a fine ensemble which also stars Nigerian percussionist Lekan Babalola. They are different in personnel and approach, but this one and Blue Skies are equally great records of standards.
Sewell and Babalola return for Silver Pony in 2010, along with John Batiste, Reginald Veal, and Herlin Riley, an all-star band that shines on a seamless mix of live and studio recordings. The record received somewhat mixed reviews, which surprised me, as I felt it was an excellent outing that leaned a bit more toward jazz, with less jazz-pop than her recent work. There are several longer songs that feature the band as much as the vocals, and it's a great band.
Another Country 2012 is a collaboration between Wilson and Fabrizio Scotti (see Glamoured above). They write and produce all of the songs together, and Scotti again plays guitar throughout. It's a different record from most of her work, and it is special in many ways. The two artists complement each other very well.
Her last recording, 2015's Coming Forth By Day is a tribute to Billie Holiday. Wilson does it her way, though, and never attempts to imitate Lady Day. Instead Wilson interprets and reimagines eleven songs by and/or associated with Holiday. Martyn Casey on bass and Thomas Wydler on drums, the rhythm section from Nick Cave's Bad Seeds, lay down a bluesy base while multiple guitarists and other talented musicians build an unusually atmospheric pallet for Wilson to color. Producer Nick Launay adds strings on the ballads, and it all adds up to a different sounding Cassandra Wilson record. But her distinctive voice and phrasing keep it very much in her wheelhouse, and mark the end of her career on a high note.
In all of this, Wilson's smokey contralto and sinuous and sensual delivery are what make her records so spellbinding. Her frequent use of guitars and interesting percussion over keyboards give her records a distinct flavor that is her own. A distinctive voice and an independent artist with a clear vision for her work made some of the best records of the last three decades.
I had the pleasure of seeing her live twice, and I was in awe each time. As great as many of her records are, her live show was mesmerizing.
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