Behold a brave new singer, a fresh voice with roots in the tradition but opening a path to new concepts of singing and choices that encourage not only the singer but also the instrumentalists creating alongside the vocalist. This is our first session to focus on vocals. Previous to this, Roswell Rudd had sung his tribute to Herbie Nichols (CIMP 146) and Ahmed Abdullah had paid his vocal tribute to Charlie Moffett (CIMP 152). Ad lib vocal spirits have been contributed by Kahil El’Zabar on both his Ritual Trio (CIMP 150) and Ethnic Heritage Ensemble (CIMP 167) dates, by Tyrone Hill’s Quartet in its tribute to Sun Ra (CIMP 154), and on Luther Thomas’ Trio’s tribute to basketball (CIMP 145). And then there are the vocal utterances of various bass players, most notably Joe Fonda (CIMPs 151 & 157). But all that aside this, without a doubt, is our first singer’s date.
There are a number of remarkable things about Pucci Amanda Jhones. To begin with, she is a striking and remarkably self-assured woman. That self-assuredness allows her to display her creative talents in an unafraid, natural manner. I first became acquainted with Pucci when she sent me a copy of a recording she produced, which eventually became Sweet Dreams (Cadence Jazz Records 1088). I was struck by the originality of her approach and projection (at times it almost seemed bizarre) of time, tone, and pitch hinted at in that recording. Here was a singer who satisfied the joys I had with the likes of Mildred Bailey, Billie Holiday, Carmen McRae, Betty Carter, Sheila Jordan, and Abbey Lincoln, but who also suggests to me the pleasures of post bop improvised music.
In doing this CIMP date, one of my objectives was to give flight to the vocal uniqueness suggested in her first recording. Overall, my objective was the same for any other CIMP date: to give exposure to and capture the individual talents of an artist who has something honest and original to say.
For the session, Pucci got together a rather disparate group of players. Hill Greene (whose previous work at The Spirit Room was as a part of the Marc Edwards Trio, CIMP 128) had been part of her first recording and again boldly chose to take the bass role in a natural and unamplified fashion. He is a key anchor here. Casey Benjamin (also on Pucci’s Sweet Dreams), only 19 (b. 1978) at the time of this recording, already shows signs of becoming a strong new individual voice. Obviously Pucci welcomes the opportunity to work in these challenging circumstances. Wade Barnes is a veteran of the New York scene, protégé of Beaver Harris, and somewhat guiding father figure to the proceedings. Rory Stuart, who knitted so much of this together as on-site arranger, rounds out the rhythm. Rory’s previous CIMP work was a meeting with the Ivo Perelman Trio (CIMP 134).
The first session began around 7 p.m. and ran through a range of emotions while producing some gems including: “Porgy” (is that a Streisand reference I hear?); a beautiful ballad duet with Rory on “That Sunday” (talk about worrying a line without a net); and a hip and over-the-top bluesy outing on “Diamonds Are a Girl’s Best Friend.” The session ended at 2 a.m., after a tearful and wrenching “Chinatown,” a Jerry Goldsmith song with Pucci reciting her poem in tribute to her mother.
The second session brought new approaches. Tunes often changed radically from one take to another with Pucci freely following her instincts and often conducting ad lib arrangements during performance.
Throughout, I was enthralled by her chance-taking, trust and inventiveness. For the listener, there are some very intimate encounters here, at times uncomfortably intimate. It is not for the timid or those in emotional denial. But repeated listening brings for me release and exhilaration along with new challenges. The mixing of self into the technical aspects of music is essential to our greatest improvising artists. It is the triumph of individuality and the ability to sing one’s soul in a universal but personal way that separate the great artists from the clones and technicians.
One listening should alert you; second and third listenings bring a familiarization with Pucci’s unique style and the understanding that she makes these standards her own.
Robert D. Rusch
