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.
album review: girls with different sounds
July 4, 2007By Baby Gil excerpt from The Philippine Star (April 16, 2007)
Girls wanting to break into the music business these days have only a few but very definitive options. There is the singing champion like Sarah Geronimo; the rocker chic, think of the sweet but tough Kitchie Nadal; the bossa nova babe a la sultry Sitti; and the acoustic siren with the haunting call of Juris Fernandez of MYMP. Of course, there are always openings among the Hot Babes or the Sexbomb dancers for the attractive but vocally challenged.
But there are some intrepid sorts who refuse to conform to prevailing trends. Let us thank heaven for them because they dare to be different and keep the music scene lively and interesting. They live with the hope that maybe, they can spark another trend like the bossa nova or acoustic pop and then make it to the top just by being their own true selves.
Jazz in The Powder Room Stories by another singer/songwriter and ex-ska expert Skarlet. Skarlet is the new name of Myra Ruaro, the girl soloist of the Brownbeat AllStars. If I remember right, her former band specialized in ska, that blend of reggae and rock that became a big seller during the New Wave period in the 80’s. Im not also sure but that must have also been the time when she acquired the name Skarlet.
The Skarlet found in her first solo album is of a very different breed though. Save for a boogie-woogie rendition of Brownbeat’s The Way That You Do, no trace of ska remains, Instead there is a Skarlet who leans more toward sexy, willful O’ Hara sort but with a big band sound. The always daring Myra is jazzy and earthy as she goes through 14 tracks in what is truly an exciting album.
I think the package screams ‘hey, we can do this too!’. And Myra accompanied by some of the musicians around does it very well indeed. Get a load of what she does with pop standards Call Me and One Way Ticket To The Blues. Other songs included are Skarlet, Lullaby for Ganei, Anguish, Babae Ka, Myawong, Stay with Me, Birdy Bop, Goodbye Roby Jean, Joy and Words Behind Tears.
album review: 4 women, 4 albums
April 16, 2007by Pocholo Concepcion, Philippine Daily Inquirer (April 11, 2007)
GOING SOLO
Almost 20 years ago, a friend was bowled over by the gutsy singing of a young Myra Ruaro, who had been doing occasional gigs with the band Adourn Delirium at the Old Red Rocks, predecessor of Club Dredd Timog.
In 1995, Ruaro became the lead vocalist of Put3ska, one of the most exciting acts of the local alternative music scene. Much later, she fronted Brownbeat AllStars.
Now Ruaro has changed not only her act, but her name as well — going solo as jazz artist Skarlet with an excellently produced debut CD called 'The Powder Room Stories' (Candid Records). Skarlet introduces herself as a New Orleans-type cabaret queen: 'Watch me as i paint the town frou frou red…'
The jazz we hear is exceptional, swinging and bopping with dynamism, including possible the most elegant-sounding ballads this side of the equator. Skarlet's phrasing has a nasal twang that seems indecipherable as affectation. Could be an instinctive reaction to the smoking hot performance of her guest musicians (and awe-inspiring work of her arrangers) — incidentally among the country's best and brightest: Edgar Avenir, Noli Aurillo, Koko Bermejo, Henry Katindig, Bo Razon, Simon Tan, Ronald Tomas and Aya Yuson, to name a few
REVELATION
Skarlet herself is a revelation. Aside from self-penned originals in which she displays an amzing facility with words and images ("MyaWong", "Joy" and "Skarlet"), the covers ("Debbie Harry "Call Me", Ano Montanos "Babae Ka" and "One Way Ticket to the Blues") are wonderful stuff
- excerpt from '4 women, 4 albums' album review by Pocoholo Concepcion of Philippine Daily Inquirer publsihed last April 11, 2007
Album Review from www.getzmo.com
March 30, 2007Shock! This must be one of the most well-produced cd's I've ever listened too. The `50s feel in this album is so sweet that it really feels the way it sounds. Skarlet outdid her self together with a solid menagerie of musicians to add that fairy dust this album that is so drenched in.
It's a great select! While drinking, cleaning the house, dinning, dancing and more! Plus your mama and your papa won't knock at your door and have you turn it down! Skarlets voice couldn't sound any better! To me she just kicked every local female musician to date! It's everything an album should be… the musician here just brought us back to school!
Her voice is sexy, strong and has one of the best characteristics that make her so tangibly sweet! It feels like she's whispering in your ear. Plus great inlays makes it worthwhile buying… legally!!
1. SKARLET - Ballroom, gangsters, Betty Boops, powder rooms, vintage showgirls, Las Vegas, Chicago feel! Put on your fancy pants and dancing shoe's take your girl for a ride in your daddy's Cadillac and paint the town red!!! Urban Philippines wont be the same with this in your CD player!
2. Call me - this remake still has that 50's feel to it but sounds more like a 70's jazz to me…. You can't go wrong with a great song and a singer this good behind the wheel.
3. One way ticket to the blues - very simple, elegant and is very "stage-lounge" sound. I love its simplicity and is lyrically brilliant… melancholy never sounded so fun!
4. Lullaby for Ganie - I don't know if people get this or if it is intentional… but the way she sang this song reminded me so much Basia. Again very simple with the strip down tonal guitar playing and vocals. Vivid is the best way to describe her lyrics.
5. Anguish - Sweet ambience the drums sounded so real it feels like they are playing in front of you. The passing fill-in of the guitars and piano gave that free style feel that jazz was always so noted for. Strong lyrics great start to end.
6. Babae Ka - Hello `70s! Square cars driving in `70s Roxas Boulevard. I never really liked girl power themed song but its an exemption in this case its okay. It even has that theater sound! The brass is so `70s old movie sounding it just makes it such a treat to listen to!!
7. Myawong - dark but hopeful. This will sound great with a matched music video! Its sounds to personal, for me to understand with just browsing. The play here is vocal and lyric intensity is complimented with minimal instrumentals!
8. Stay with me - Sexy beats, and play… it just blows that the inlay didn't show its lyrics… also the beep bop was an absolute treat!!! Karl Roy would have a run for his money for this one.
9. Birdy Bop - Run Karl! Run!
10. Goodbye Ruby Jean - this sound more like "Hotel Chicago blues" rather than Jazz. Perfectly rolled lyrics. Painful song! And that's just a blues addicts candy.
11. The way that you do - Dance Rock n Roll… but still holds on to that crossover sound. But nevertheless still "jazz heavy" as not to be criticized as "pogi-jazz", as I heard from my college professor who played jazz heavy, and described crossover as pogi jazz.
12. I'm in love with a dream - Again that Basia feel! Her approach to her singing is smooth, sexy and intense! Again it blows that they didn't print its lyrics.
13. Joy - it has its great moments also it has plateaus more than the other song in the album. But what do you expect from a song called joy! The best part in this song is the catchy instrumentals!! Great stanzas! The chorus just didn't hit me as the catchy stanzas.
14. Words Behind The tears - smooth…
Okay, all I can say is that this type of production should be the benchmark for artists and producers! The Philippines is so abundant with talent and I've never seen or heard of an album this well produced…Eraserheads albums would be second, the P.O.T. album would be third in my list and fourth would have to be Brain Salad. When I say well produced, I mean everything from the inlay, to the quality of the recording, the songs etc… I hate it when a good song is stuck in a seemingly low grade CD… it makes the songs sound muffled and ugly.
The way this album is built from its artistic value to the physical value is the best so far…. Too girly for my taste in term of the inlay choice of colors… but it's the best for me nevertheless.
True music lovers and educated musicians will like this album easily! Naturally, posers won't get this by a mile! They can still pretend though!
Enjoy the album and buy it legally…. It's worth it!
by John Lee of www.getzmo.com
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Album Review from PhilMusic.com
Colorful, poised and dazzlingly theatrical – Skarlet’s debut solo record, The Powder Room Stories mints into strong Montmarte cabaret-biographical sketches, a courtesan diva’s tale of desperate love, and lustily musical interpretations either Broadway guru Baz Luhrman or jazz saxophonist Charlie Parker wouldn’t mind listening to shortly and have a cup of tea. Whether it’s the silken vocal flexes that borders from strong, powerful and mesmerizing or the distinguished diva presence, Skarlet’s voice is the defiant element that makes The Powder Room Stories simply a clear-cut Broadway jazz opera donned in spunky rock chic.
A cross between Sarah Vaughan and Nina Simone, Skarlet’s vocal style has precise sense of rhythm and has a chameleon-coat towards slow and fast tempos, scat singing, standard ballads and falsettos. In “Birdy bop” she hops, leaps and frantically plays on random notes and improvised syllables like cold ice melting on suave, summer heat; while on “Anguish,” the gentle cover of “One way ticket to the blues,” and the dreamy temperament of “Stay with me,” Skarlet sings like Billie Holiday in 30’s nightclub suit gracefully weeping soul, black n’ white drama and romantic sincerity.
She absolutely knows how to tone down, embellish or establish vocal theatrics within certain limits that doesn’t overlap the genius of the horn and rhythm section, and yet it sounded as if her vocal presence is the heart and soul of the entire song. Thus, Skarlet proves that she is more than just an overnight fixation, but an epitome of real class and feminine power.
In The Powder Room Stories, Skarlet is also at her best subdued to swingy jazz anthems and bouncy numbers particularly the opener track “Skarlet,” a name with spangled equivalent to Broadway chanteuses Satine and Roxie. The title track flirts over blaring trumpets and sax, lively and piercing drums and subtle piano with Skarlet’s voice just as plain and acrobatic on conviction. The fact that she has mastered unlikely similar terrain with her ska endeavors Put3ska and Brownbeat All Stars makes it easy for Skarlet to tap vocally on the upbeat, the danceable and the melodically vigorous.
Fashionably controlled and flexed, Skarlet’s vocal designs are also worth mentioning in the swingy yet steadily soulful tracks like the Edgar Avenir arranged “The Way that you do” and the sheer “Joy,” which she lets loose and strangely avoids the signatured meticulous crooning. The result — a sizzling vivid, completely honest performance that showcases her chops for topform versatility.
The only tagalog track on the album, “Babae ka” pimps on latin tropicalia rhythms, gentle samba beats, stripped down guitars and subtle orchestral arrangement that elegantly rolls like a ball of yarn. It’s one of the fine moments of the album, not because of its marginal beauty and unsophisticated appeal but for the reason that its sincerely written and interpreted in the course of a dignified woman aiming for equality and change. Skarlet’s raw but carefree emotion also stirs to the song’s conviction; her treatment goes beyond just the powerful showcase, but real deal sincerity of what it is to be society’s dictate of a woman – often delineated, oppressed and subjected as sex objects.
Even on the last track, “Words behind the tears” unarguably in her most depressing tone, Skarlet achingly ponders as if she rolls cocaine and intensely yet clearly sings out of a realization of her desperate love. It’s deeply affecting how Skarlet interpret the closing track with such evident pain that you are left wondering why her final narrative in The Powder Room Stories has to be miserable and depressing. Maybe, just maybe – hurt is the price for love. And it defines The Powder Room Stories, as a tragic opera of big band sounds and Skarlet’s search for her fictional portrait as a woman in love.
by Ian Emmanuel C. Urrutia (March 1, 2007)
