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When Andy James sings, she doesn’t simply cover a song, she inhabits it. Rather than merely reciting the lyrics, she seems to place herself within their context. There’s a sense which natural singers possess, allowing them to make unplanned decisions and execute tonal shifts while already at the microphone. Whereas musicians are afforded at least some small margin for error and recovery, a vocalist isn’t quite so fortunate. A single note, rendered at the wrong pitch, becomes a glaringly obvious mistake. James, used to the arduous demands of a former life spent as an internationally renowned flamenco dancer, maintains an admirable level of control; she dances as close to the tension line as possible, without crossing its threshold.
Of course, it helps to have friends in the right places. In Bill Cunliffe she has found not only a pianist, but an arranger; someone for whom the responsibility of each album’s musical direction is paramount. The Grammy-winner’s versatility allows him to seamlessly transition the band away from the post-bop, basement jazz club mood of James’ previous effort, entitled Blue, to a rollicking new celebration of Latin influences in jazz. From its pastel-streaked cover to the bossa nova and cha-cha rhythms ingrained amongst its track list to the ever present guiros and cowbells, Tu Amor marries the excitement of James’ dance background with the fundamental intricacy of jazz.
It was inevitable that these influences would manifest themselves within and throughout her career, but it is on Tu Amor that they become fully prominent. She acknowledged the album’s connection to both art forms, stating that “it enabled me to touch on all the rhythms of both styles to which I wasn't able to express on my former albums.” Among others, “Perfidia” and “Call Me” play to the Latin jazz theme, with the latter being an opportunity for James to croon Petula Clark’s familiar lyrics with a smile evident in her voice. This is where the singer excels, clearly having a good time with her band while taking serious the demands of her chosen material. One of the most enjoyable factors of this album is that it allows her more opportunity to loosen up and take a lighthearted approach to the music.
Her commitment to that mindset offers up one of the album’s seemingly endless little surprises in “Papa Loves Mambo.” The wacky, upbeat tune, made famous by Perry Como and Nat “King” Cole, was due for a woman’s touch. Sobering significantly, the singer offers a concession to the traditional love ballad in Mancini’s “Loss of Love,” replete with mournful horn section and a gentle rhythm kept at Vinnie Colaiuta’s drum kit. James seems at ease working with slower material, perfectly articulating the lyrics’ plaintive subject matter.
The entire mood of Tu Amor radiates outward from its not-quite-centrally located title track, written by Peruvian percussionist Alex Acuña, whose contributions are quite overt throughout the album. Taking advantage of the freedom given to them, the band, now ten strong, brings the theme to its culmination with “Evil Ways,” one of Carlos Santana’s most recognizable tunes. Cunliffe splits the melody with the rhythm section, organically bringing a classic rock staple into the jazz fold. In another of those little surprises, Andy James demonstrates that the mark of a great singer is modesty, setting aside her microphone for both of the performances, the former being utilized as a palate-cleansing denouement.
If not modesty or perfectionism, perhaps Andy James’ finest trait is versatility. Since boxing up her dancing shoes late in the 2000s, she has recorded four individual albums, each of its own distinct personality. As tempted as we listeners are to look eagerly to the future, let us restrain our attentions to the present - to Tu Amor, and endless little surprises.
PETER J. HOETJES