American vocalist Gretchen Parlato has created quite an impression with her début recording “In A Dream”. The California born singer has rapidly become an important figure on the New York jazz scene since winning the Thelonious Monk International Jazz Vocal Competition and subsequently studying at the Monk Institute. Her original approach to singing has won praise from such respected figures as Herbie Hancock and Wayne Shorter and the line up on “In A Dream” features some of the brightest young players on the US jazz scene. 

Principal among these is guitarist/vocalist Lionel Loueke ( from the Herbie Hancock band) but the personnel also includes keyboardist Aaron Parks, himself a respected solo artist, bassist Derek Hodge (Robert Glasper, Terence Blanchard) and drummer Kendrick Scott (Blanchard).

Under Parlato’s guidance this all star grouping tackles an eclectic programme of pop songs, jazz masterpieces and original compositions in a highly original manner with the emphasis on Parlato’s   remarkable vocals. Her voice is breathy and sensual but capable of considerable musical and rhythmic sophistication. It’s not a big voice, Parlato doesn’t seek to dominate but to integrate with the ensemble often using her voice as an instrument. The results are distinctive and innovative winning her a considerable following in the process.

On the opening “I Can’t Help It” (the disco smash Stevie Wonder wrote for Michael Jackson’s “Off The Wall” album) Parlato subverts the song giving it an almost desperate air of wistfulness. Loueke’s contribution is key, his rhythmic guitar and Bobby McFerrin like vocal percussion are Parlato’s only support but this unusual combination works superbly and the pair indulge in a good humoured scat sparring session part way through the tune. The chemistry between Parlato and Loueke is palpable throughout the album but in time the other players get to make important contributions too.

Francis Jacob’s “Within Me”  adds Hodge, Parks and Scott to the proceedings. Hodge’s resonant bass, Parks’ delicate piano and Scott’s chattering groove make the perfect backdrop for Parlato’s   delivery, simultaneously world weary and sensual. The European counterpart would perhaps be Solveig Slettahjell’s masterful Slow Motion Group.

Celebrity fans Hancock and Shorter weigh in with a tune each. “Hancock’s “Butterfly”  is next up with Shorter’s “E.S.P.” coming later in the set. Loueke’s guitar and voice are once again prominent in the arrangement and Parlato’s highly personalised vocal makes use of unusual spaces and pauses.  Again there are moments of scat interplay between the two principal protagonists (Hodge is a low key presence on electric bass) on this remarkable interpretation of a classic tune.

The title track features Parlato’s words and the music of Robert Glasper. Lyrically Parlato doesn’t have much to say but she says it beautifully. The mood of the track is appropriately ethereal and deliciously woozy. The singer’s little girl sensuality is well complemented by Parks’ twinkling Fender Rhodes and Scott’s sensitive, low key drumming.     

The Brazilian pop tune “Doralice”  is another showcase for Parlato and Loueke essentially a joyous vocal duet. It’s both imaginative and impressive.

The second Parlato original is “Turning Into Blue” co-written with her sometime bass player Alan Hampton. Again there is a dream like quality to the singing and the arrangement with Parks’ exhibiting a lyrical touch at the acoustic piano sympathetically supported by Hodge and Scott.

Parlato’s take on Shorter’s “E.S.P.” is comprised of a wordless vocal performance in the company of Parks on quietly funky Fender Rhodes plus Hodge and Scott. Samples of the infant Parlato singing (aged two) are woven into the track and occasionally y pop up elsewhere on the album. If this album has a fault it is that for all it’s musical sophistication it can sometimes sound annoyingly twee, a feeling that this indulgence only encourages.

The Duke Ellington composed tune “Azure” undergoes a remarkable transformation in the hands of Parlato and her group. The understated arrangement includes a pithy solo statement from Hodge on acoustic bass but it is Parlato’s gorgeous vocal, sensual yet other worldly that really shines, whether she is singing the lyric or wordlessly vocalising.
A second Francis Jacob tune “On The Other Side"is quirkily arranged for the group with Loueke again an important component. 

The closing “Weak”  has a subtly funky arrangement with Parlato singing just behind the beat. It’s intriguing and slightly unsettling. Parks solos briefly on Fender Rhodes behind Scott’s quietly propulsive drum groove.

“In A Dream” is an impressive and innovative album full of clever and subtle musical ideas. Parlato is clearly one of the most original and inventive singers to have emerged in recent years and it’s easy to see why other critics have gone overboard about this album. It’s certainly an admirable piece of work but personally I find it rather too twee and self consciously eclectic to be totally convincing. I suspect I’m probably in the minority here.

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