Sings
Emilie-Claire Barlow
Independent
2000
11 tracks
Emilie-Claire Barlow Sings. The title lets us know up front that this debut release is intended to establish Barlow as a jazz singer. In fact, the musical content renders the title a misnomer. Rather than frame and enhance the obvious talent of this singer, the band overwhelms her and enhances the weaknesses in her performance.
Usually, when a jazz singer's CD is released, the singer is a strong focal point while the band plays an important supporting role. Whether unintentionally or because someone feels this singer's performance needs bolstering beyond mere support, this band tends to steal the stage. The recording feels in many ways like a concert by a big jazz band in which Barlow plays the role of "the girl singer" who is not the centre but merely another instrument in the mix.
This is wonderful big-band jazz performed by some of the top musicians in Canada. Featuring twelve pieces, including a huge horn section, this ensemble could make a marvelous backdrop for any young singer. Instead, this big, powerful machine overtakes and rolls over everything in its way, including Emilie-Claire Barlow. This release might more aptly have been named "The Barlow Band, featuring Emilie-Claire Barlow."
Hearing Barlow's performance in some of the less instrument-heavy numbers in this set, it becomes apparent that she might perform better in the more intimate context of a trio or quartet. In these songs, or sometimes parts of songs, Barlow sounds more confident and less like she's fighting to be heard against her massive instrumental backdrop. Indeed, the few weaknesses I hear in her performance may result from a lack of confidence that she can break through this wall of instrumentation.
Barlow is clearly a talented young singer. And while she's young, she's been at this a long time, having begun her professional singing career at the tender age of seven. She has the support of her father, session drummer Brian Barlow, and her band benefits from the talents of his musician colleagues. Barlow's most recent CD, Tribute was nominated for a Juno Award. However, on Sings, her debut release, Barlow's performance is subdued, as though she is a beginner intimidated when thrown into this professional environment.
On most songs, Barlow's vocals have the sort of breathless quality that suggests she is singing off the top, without really using her diaphragm fully or allowing her voice full expression. This effect is often heard in singers who have never sung without microphone and have become lazy, relying for fullness and volume upon the electronics instead of stretching their own natural equipment. I doubt that's the case here. Given the context, I suspect it suggests a certain lack of confidence that motivates Barlow to hold back and let the band carry the load.
In contrast, there's also a sense that Barlow may be trying too hard at times. In more than one song, it feels like she's straining to reach highs that are not yet within her range, even to the point that several times she slips off, if only for a second. These are rare occurrances and Barlow covers them well. If this were a live performance, they would be considered negligible at worst. As this is a studio recording, one can't help but wonder if another take might have been in order.
Taken as a whole, this is an excellent set of standards by a talented singer and an excellent jazz band. Any weaknesses are minor and don't detract from the overall strength of these recordings. I note them only because it's unfortunate that the subdued nature of Barlow's performance combined with the power of her band tend to thrust her into the background instead of up-front where she was intended to be.
In many reviews, I will discuss several of the songs that stand out from the others as either exceptionally good or exceptionally bad or sometimes just as different from the rest. I haven't done so in this case, because the quality of performance and production is so uniformally polished that it would be difficult if not impossible to identify any song but one as standing out from the others.
The one song that does stand out does so because, on this jazz singer's showcase, it's a longish instrumental that features only minimal participation by Barlow. "Stolen Moments" is a sometimes cool, sometimes rocking jazz instrumental driven by the rhythm section. Highlights are not the vocalist but some excellent solos on piano, trombone, and guitar. I was especially taken by Russ Little's trombone work in this piece. Barlow's voice is heard only in some non-verbal vocal fill, including a very brief scat thing right at the end of the song. This is arguably the most innovative and interesting number on this release.
While they do feature a little more of Barlow's scat, "Billie's Bounce" and "Brazilian Dorian Dream" also take this instrumental approach, focussing more on other band members than on the vocalist. It's as though the producer had forgotten who was supposed to be the focus of this release. Here too, Barlow becomes almost invisible in the mix.
Emilie-Claire Barlow's Sings is, in my opinion at least, a perfect example of how not to showcase a jazz singer. This is a great jazz album. I'd recommend it to anyone. However, the focus is not on the singer as intended, but on the band. The song that comes across most strongly, and is probably the best on this release, is an instrumental number that only barely includes the singer it's supposed to underscore. It will be interesting to hear Barlow in a context more supportive of her apparent talent.
To learn more about Canadian jazz singer Emilie-Claire Barlow, look for information at The Barlow Group website.
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