Robin McKelle Alterations

Robin McKelle
Alterations
Doxie Records

Vocalist Robin McKelle's new album has the singer interpret several songs by a diverse list of female innovators including Dolly Parton, Sade, Amy Winehouse, Adele, Janis Joplin, Carol King, Billie Holiday, Joni Mitchell, and Lana Del Ray. Backing McKelle on this release is co-producer, pianist and arranger Shedrick Mitchell, acoustic and electric bassist Richie Goods, drummer Charles Haynes, guitarist Nir Felder. Saxophonist Keith Loftis and trumpeter Marquis Hill guest on one song each.

There is quite a variety in material and McKelle's approach to the tunes ranging from straight-ahead jazz singing to songs more in a Memphis soul vein. With a slight vibrato, an impressive vocal range, nuanced phrasing, and timing, she displays a thorough command of the material set against a choice rhythm section and Mitchell's first-rate arrangements. As McKelle says, "We fused jazz, soul, r&b, blues and rock all while keeping a continuity in the music."

From the opening Latin-tinged rendition of Amy Winehouse's "Back to Back" to the appealing duet with Mitchell of Carole King's 'You Got a Friend," McKelle shines. There are a number of highlights, including her own "Head High," which is set against a Coltrane-ish groove. Mitchell sounds like he is channeling McCoy Tyner while Keith Loftis' solo is terrific. In contrast to the full-throated delivery on "Head High," the low-key vocal on Billie Holiday's "Don't Explain" is complemented by subtle, restrained backing. Marquis Hill adds his muted trumpet to a plaintive vocal on Lana Del Ray's "Born To Die." McKelle has recorded a classic soul album, so one should not be surprised by her Memphis soul-rooted rendition of Dolly Parton's "Jolene," or the funky blues-rock rendition of Janis Joplin's "Mercedes Benz."

There is considerable charm in her relaxed, tender take on Joni Mitchell's "River," which one more illustrates how well she can instill her personality on such varied material. It is the consistency of McKelle's marvelous performances and backing that make "Alterations" such an outstanding album.

I received a download to review from a publicist. Here is a performance of "Don't Explain."

Robin McKelle Does Not Mess Around

Back in November I posted a review of a Robin McKelle CD from a couple of years ago, but she has a current recording available which I am pleased to highlight now. The following review originally appeared in the June 2006 Jazz & Blues Report (Issue 326) at page 20 (www.jazz-blues.com).

Robin McKelle’s new recording “Mess Around” (E1 Music) represents a change from the 2 Big Band CDs she previously recorded. Spanning soul, blues and jazz she says she was inspired by the 60s albums by Ray Charles and Nina Simone (she also references Etta James) and enables to her investigate somewhat different musical textures than in the larger big band settings of her earlier disc as many of these sides use what might be called a little big band setting, rhythm section and 3 to 5 horns on a strong group of material including four McKelle penned originals and seven imaginative covers of material from such notable sources as Bee Gees, Leonard Cohen, Doc Pomus and Willie Dixon. Fred Wesley contributed a pair of arrangements and Houston Person adds tenor sax solos to a couple of tracks. Interestingly, only a couple selections have guitar. The core of the band here is bassist Tim Lefevbre and drummer Mark McLean, with Adam Klipple, Xavier Davis and Alain Maillet sharing the keyboards.

She certainly belts out her vocals throughout from the title track, a striking original where she tells her lover she ain’t messing around with his hurt, cause she wants to hold him in her arms and squeeze him tight. Fred Wesley contributed the striking, original and funky, arrangement for her heartfelt rendition of The Bee Gees’ “I Can’t See Nobody,” followed by a rocking, shuffle rendition of the Hooper-Jennings “Never Make a Move Too Soon,” (a hit for B.B. King) which sports wonderful tenor saxophone by the great Houston Person and a terrific arrangement by Alain Maillet. Leonard Cohen’s “Everybody Knows,” was not a familiar to these ears but McKelle certainly delivers the lyrics in a convincing fashion as Alex Harding blasts away on baritone sax on a strong bluesy performance. “Angel,” another McKelle original, takes the tempo and volume down, shows a bit more reflective side here on this gloomy performance with a lovely horn arrangement. Marvin Sewell, Cassandra Wilson’s guitarist, is added to the hornless “Until the Day I Die,” and crafts a nice solo. Klipple’s organ and Fender Rhodes add to the atmosphere behind the yearning mood she expresses her.

On the standard, “Cry Me a River,” McKelle sounds like a grittier Julie London, nicely sung with more marvelous support from the horns, while Fred Wesley contributes the new arrangement of the old Ray Charles hit, Doc Pomus’ “Lonely Avenue,” which McKelle really pours her heart into. McKelle herself contributed the latin-funk arrangement for “Eleanor Rigby,” which comes off as if she was singing for Willie Bobo or the like. Mark Tucker enlivens the fresh interpretation with some fine tenor sax. Houston Person returns to solo on a sultry, swinging take by McKee on Willie Dixon’s “I Just Want to Make Love to You,” before she closes the disc with the hornless group again on her original, “Since I Looked In Your Eyes,” with Marvin Sewell adding some bluesy slide guitar.

An impressive album that is beautifully played and McKelle certainly places her stamp on the performances. She perhaps has a tad bit more vibrato than my own taste would prefer, but that is my own preference. She certainly has produced an outstanding album that should appeal across genre boundaries, and to fans of blues and traditional R&B as well her fans from her prior releases.

For purposes of FTC regulations I received the review copy from the record company.

Robin McKelle's Big Band Vocals

Robin McKelle at
2007 Montreal Jazz Festival

I had an opportunity to see Robin McKelle, the first time I went to the Montreal Jazz Festival in 2007. Her vivacious personality came across in her performance as well as her strong vocals. The following review appeared in the November 2008, Jazz & Blues Report (Issue 310) although I have made a few stylistic changes in the text. This CD is still readily available.

Berklee alumni Robin McKelle has just issued a new album, Modern Antique (Cheap Lullaby). It is at least her second album and she performs and number of standards along with some intriguing and unusual material backed by a big band; sometimes horn driven and other times strings dominated.


McKelle is quite a good singer, if occasionally she comes off as cute and sultry. McKelle, at times, reminds me of Streisand, with a jazzier delivery. Things kick off on a terrific start with a hard swinging rendition of the surprising opening number, Steve Miller Band’s “Abracadabra.“ Kudos to the very imaginative arrangement of this song, which is followed by a hot Latin groove for her take of “Come Love.” The ballad “I Want to Be Love,” with strings and reed accompaniment, is done as a torch song and some might suggest she overdoes her singing here.

“Lover Man” opens and built around a funky bass riff that sets the groove, whereas she returns us to Heaven with a Basie-like arrangement for “Cheek to Cheek.” Strings frame her singing for the lovely ballad “Day By Day,” followed by the Buddy Johnson blue ballad, “Save Your Love For Me,” a rendition that contrasts to Ella Johnson’s original recording with brother Buddy’s orchestra, but not as satisfying as Charles Brown’s suave interpretation of this marvelous song.

Other noteworthy performances include the sprite “ Lullaby of Birdland,” and “Make Someone Happy,” with strings and nice trumpet and her nicely delivery of the lyric that perhaps evokes Streisand the most. The album concludes with McKelle’s own “Remember,” with her piano and the strings for accompaniment, a lovely song of lost love.

Special commendation to Willie Murillo who produced this and contributed several of the arrangements. When I saw McKelle in Montreal, she was backed by a combo, but she certainly is not overpowered by the full big band accompaniment she receives here. Its a marvelous and rewarding recording.


For FTC purposes, I received my review copy from Jazz & Blues Report.