Many
artists have produced albums filled with love songs and torch tunes at
slow tempos; they're designed to pull at the heartstrings, or turn up
the nostalgia, or to highlight the introspective phrasemaking that
ballads allow. But very few succeed at also doing what this album
accomplishes. It creates a cocoon of space around the listener. It
lowers the blood pressure; it slows the heartbeat; it seems to slow time
itself. (If it weren't so supremely musical, you might consider
marketing it as a medical device.) On Moment To Moment,
Menzies and Phillips locate their music very much in the present - in
that space, Menzies explains, "where you have a moment to breathe." And
they transport their listeners to a place where each of those moments
really counts.
"We've
done all sorts of material in our gigs together," Menzies points out,
"but the ballads really brought out something special in our playing - a
gentleness. At a house concert we did about a year before the
recording, we played a duo version of 'You Don't Know What Love Is,' and
at the end we were both weeping. It was so powerful emotionally; we
feed off each other's energy when we play, and we wanted to just go
deeper and deeper."
In
repertoire drawn primarily from the jazz catalog as well as the Great
American Songbook, Menzies and Phillips - joined by the tastefully
simpatico rhythm team of bassist Jeff Chambers and drummer Jaz Sawyer -
go far beneath the surface of the melody lines and chord changes. Their
improvisations have a quiet wakefulness, a deceptive simplicity that
reveals a carefully constructed, unassuming majesty. Together, they
follow the advice of Miles Davis in not only knowing what to play but
also, more important, what to leave out. And their instrumental lines
dovetail with an ease that would normally bespeak years of collaboration.
Which
makes it all the more surprising that Menzies and Phillips first met in
July, 2012; their partnership is still in its infancy, and this album
represents their recording debut as a collaborative duo.
"I
had this regular restaurant gig," Menzies recalls, "and our vocalist
couldn't make it one night. The bassist recommended Nick, and we just
had this magical musical chemistry. The more gigs we did together, the
more we realized that we had so much in common." Adds Phillips: "In that
first meeting, it was surprising to me how instantly compatible Cava
and I were musically. The subtle nuances, the phrasing, the way we both
leave space in our playing to let the music breathe - it was all there."
Equally
shocking, to Menzies, was the revelation that Phillips had essentially
stopped playing the trumpet in the years leading up to their
introduction. "I've
been a performing musician on the side throughout much of my career,
but I really had to put that on the back burner for a while, given the
demands of my day job," Phillips explains. Menzies remembers thinking
that Phillips must be a busy working musician,
given what she was hearing on stage. "So I was shocked when we chatted
after the gig and he told me that he had put the trumpet aside. I
started urging him to play more - to use this incredible gift he has,
this incredible sound. It's been beautiful to watch it develop."
Neither Menzies nor Phillips makes a living through performance, but they each make a living in music. As a longtime staff producer and Vice President at Concord Music Group, Phillips has worked on hundreds of albums - by noted artists ranging from Karrin Allyson to Poncho Sanchez to Gary Burton - and overseen
the label's acclaimed jazz reissue program, where his personal
involvement has elevated collections of work by such giants as Dave
Brubeck, John Coltrane, Miles Davis, Bill Evans, and Thelonious Monk.
Menzies
teaches music to kids in grades 6 through 12 at the Oakland (CA) School
for the Arts, where she chairs the vocal department and conducts the
school choirs; what's more, she can lean on a rich family history. Her
grandmother danced at the legendary Cotton Club in New York (the home of
Duke Ellington and Cab Calloway); her mother is a classically trained
flutist; and Menzies' father, trumpeter Eddie Henderson, was a founding
member of the legendary Herbie Hancock Sextet in the late 1960s, and has
recorded nearly two dozen albums under his own name.
For
both artists, their "day jobs" strongly inform their music. "I think
this project benefited from my experience as a record producer. That
requires not only making the right choices to ensure the highest sound
quality, but also knowing how to create a relaxed, comfortable recording
environment for musicians, to allow the music to flow effortlessly,"
Phillips says. "I had the rare experience of working with some of the
greatest living jazz artists on their recording projects, and also
spending countless hours listening and digging deeply into recordings by
some of the most important artists in the history of the music. It's
all made for a lifetime's worth of profound musical lessons that are
deep in my DNA." His work at Concord left little
time to pursue performance engagements. "But when I played that first
gig with Cava, I knew right there and then that I had to make my trumpet
playing a bigger priority."
For
Cava, teaching singers has had a significant impact on her own
instrumental work. "I sang a lot when I was younger," she explains,
before choosing to focus on the piano in her mid-20s. "And I think that
what I coach in vocalists informs my playing, in terms of letting the
emotions out. It's the lyrical element. The program [at OSA] is famous
for producing great musicians, but our signature is the stage presence
and emotional quality of these performers. So while I really care about
my touch at the piano, I'm also concerned with the energy behind the
phrases. It's about sincerity and authenticity in your delivery: how
honest and vulnerable can you get up there?"
Quite a lot, if Moment To Moment is any indication.
"It's
a very, very moody album," Menzies remarks. "Not in a negative way, but
'moody' in that it's the type of album where you sit and reflect on
life. There are moments in which it plays with both dark and light. It's
moody in that way, and it really tries to capture the range of human
emotion - the emotion that you feel just moving through life."
TRACKS
| 1. | The Peacocks (Jimmy Rowles) |
| 2. | Mal's Moon (Cava Lee Menzies) |
| 3. | For All We Know (Fred Coots, Samuel Lewis) |
| 4. | You (Nick Phillips, Clifford Goldmacher) |
| 5. | You Don't Know What Love Is (Don Raye, Gene DePaul) |
| 6. | Almost Blue (Elvis Costello) |
| 7. | Phantoms (Kenny Barron) |
| 8. | Speak Low (Kurt Weill, Ogden Nash) |
Recorded, mixed, and mastered entirely in native 24-bit/192kHz high-resolution digital.
