album review: an adventurous move that pays off in spades
July 7, 2007by Joey Dizon for ONE Magazine, June 2007 issue
The thing with a lot of jazz is that it’s just plain intimidating: being one of the highest forms of music left pure and not-so-unadulterated by commercialism, the mere technique of the players behind the music and their abilities to weave the most enchanting yet far-out melodies is downright impressive, and as both young and old audiences know, you’ve got to be able to know what you’re doing when it comes to this music form. Which is why it used to be that the only ‘more mature’ crowd could appreciate the numerous merits behind the genre.
But then comes along a release like The Powder Room Stories, undoubtedly one of the finest this past year, as it makes listeners realize that jazz is not meant to be totally alienating, but liberating with the free form jams and spontaneity coupled with a fine sense of melody and structure, that makes an already lethal artist like Myra Ruaro (of Brownbeat AllStars/Put3ska fame, who now takes on the moniker “Skarlet”) even better and expand the horizons and capabilities of those like her.
It’s actually pretty easy to hear, as with album opener “Skarlet”, which is a sort of cross between a rightful introduction to Ruaro’s new persona, and at the same time, a rallying cry which she means business all throughout this specific endeavor. And she proves just that with the well-varied offerings on disc, from the pensive Noli Aurillo-arranged “One Way Ticket To The Blues”, the slow-tempo , classy ballad “Anguish” and the haunting tale of “Myawong” which albeit its musical progression, remains to be the darkest track on disc: “The shadow is here, black as a crow, fondling your soul/fear tightened its grip/she begged God for help but he was fast asleep”. Perhaps this is a prime example of the beauty of the genre: saying one thing that doesn’t necessarily sound like the other…sort of an exercise in contrasts or ironies.
And though, there are some tracks that pull out the stops and showcase over-the-top musicianship from Skarlet and the players themselves, like the Scat-infused, Aya Yuson penned “Birdy Bop” which finds both vocal and guitar notes jumping all over the place and skipping both short and wide octaves, plus the driving, rock approach of the drum meaty ”The Way That You Do” there’s also plenty of numbers like hip-swingy “Joy” and the enticing “Im In Love With A Dream” to cater to those who wish to remain strict fans of the orthodox styles, licks and tricks of the genre. After all, even though there is an openness to the abundance of styles that can be fused with the music (check out the Samba/Latin percs and horns on “Babae ka”). Skarlet is also commendably conscious of not pushing the envelope too far and is respectful enough to keep in mind that there are still certain things that shouldn’t be forced in risk of spoiling the experience.
In short, The Powder Room Stories offer what many albums lack: balance. Though audibly, Skarlet still has retained the attitude and spunk of her vocal work from singing in two seminal non-jazz groups, she proves that this endeavor is not too far out for her and actually succeeds in making the transition from an exceptional live performer to a far, mature songwriter and singer. Obviously, she has one her research, but its still her ability to pull off the most daunting tasks with conviction and without fear that remains to be her strongest points. If confidence, ambition and maturity could be heard, this is what it would sound like.
All comments are moderated. Your comments will not appear here unless approved by the blog owner. Thank you.
