Cassandra Wilson - New Moon Daughter
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CD Details
Artist: Cassandra WilsonEdition: Music CD
CD Release Date: 1996-03-05
Music Label: Blue Note Records
Soundtracks:
- Strange Fruit
- Love Is Blindness
- Solomon Sang
- Death Letter
- Skylark
- Find Him
- I'm So Lonesome I Could Cry
- Last Train to Clarksville
- Until
- A Little Warm Death
- Memphis
- Harvest Moon
Music reviews of New Moon Daughter
Music Review: "Unfathonably,Undeniably,Triumphantly again.."Cassie"
Rating: 5 Stars
I found the cover picture of "New Moon's Daughter," as perfect, and unfathonable, and strangely evocative as the music contained within was. NOT that that actually was surprising to me; considering the artist that is being considered here. Cassandra Wilson defies description. She flies in BOLD-FACEagainst conventiality, stead-fastedly refuses to be in any seeming way "pigeon-holed", and resists "categorazation", or any attempts to do, with glorious abandon. It is exactly why she continues to hold avidly, and singularly, an exceptional place in my heart. "New Moon's Daughter" indeed! Just listen to this exceptional cd, and you'll quickly see what I mean. Have you EVER heard "cover-versions" done up in, and on THEIR OWN TERMS like these before? Jazz may have been her entry into "musicland"; and she still claims it by at least keeping "one-foot-in", (sometimes barely, "structure-wise). But beyond that, this "bird" has "clearly-flown". "Strange Fruit". Lady Day, right? Yep, but clearly NOT "Billie"; and yet it stands clearly on it's own, and well worth the effort afforded it. "You Don't Know What Love Is". Guess not, when I find myself being wholly "sucked-down" by her achingly, bittersweet, torchy-timbered, husky vocalese, right along with the VERY spare, and tastefully underplayed music accompaniment. Her voice is point/the music is perfect counter-point. She again makes great headway with her own compositions; continuing to gain ground, and groundwork; of and on her own terms once again. She NEVERseems to take, or revert to; supposed "jazz-sacred-ground"; whatever that is. She seems to delight instead, "on standing traditional jazz idioms on their heads", clearly without any intentional disrespect intended. She just clearly seems to love experimentation, and being just her own inimitable self. No harm there."Last Train To Clarksville". Even I had to openly smile at this peculiar? choice. I needn't have; of course, she pulls it off beautifully, both stylistically; and with incredible backup band/muscianship. Even the Monkees would be hard-pressed to recognize it. "Blue Light 'til Dawn", was my initial foray into Cassandra Wilson's powerful, at times obscure, depths. But I couldn't wait for this one to come out. Although this one was a bit harder to gain access to (at least easily, according to Miss Wilson's idea of "accessability", that is) it is "darker-edged, more complex in both voice-execution, and stylistically-speaking; it STILL is every bit as compelling, and challenging, (if not, more so) than her prior releases to this point. But I never found it "wanting or lacking" in any way. If anything, it only served to increase my amazement, and fascination with her enormous range and gifts; so that I tumbled down into her myriad musical depths even further. If you like slightly? avante-guard, challenging, stylistically-provoking muscianship and craftsmanship; then THIS is THE cd for you. One thing is for sure, you will either love/like her and it, or probably definitely not. Of course, I side with her. You make up your own mind. You'll have to with her. She seems to sort of DEMAND it, somehow. Nancy N.
Description of New Moon Daughter
Her luscious alto has the depth and texture of a great tenor saxophonist, but Cassandra Wilson's defining asset is a postmodern song sense that enables her to surf through Son House, Neil Young, Johnny Mercer, Billie Holiday, and (gasp!) the Monkees in pursuit of strong songs that can provide that instrument with a canvas. Her second Blue Note album extends Wilson's seductive pilgrimage beyond the conventions of jazz repertoire and accompaniment, yet it's her instincts as a jazz singer that inform these brilliant readings. The settings again step away from traditional small group jazz (for starters, there's no piano) to evoke the emotional core of these songs. Anyone who can turn the Monkees' "Last Train to Clarksville" into a slow-burning erotic vignette deserves your attention. --Sam SutherlandBroadway & Vocalists CDs
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