Judy Wexler - Back to the Garden

Judy Wexler - Back to the Garden -Jewel City Jazz

While vocalist Judy Wexler's prior album, "Crowded Heart," was Judy's effort to present "jazz standards for the 21st century," "Back to the Garden" has her reimagining songs from the 1960s of Love, Hope, and Change. Wexler co-produced this with Jeff Colella, who plays keyboards (and melodica on one track). Others on this recording include Larry Koonse on guitar, Gabe Davis on bass, and Steve Hass on drums. Others heard on some of this recording are Bob Thiele, Jr. on guitar, Danny Janklow on alto sax, Jay Jennings on trumpet, and Hendrik Meurkens on harmonica. There are strings present on three tracks.

Reviewing "Crowded Heart," I wrote, "Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet tone." With her excellent command of pitch and her storytelling singing these songs, "Back to the Garden" is a delightful, sophisticated jazz-pop recording. Things kick off with her revival of the Youngbloods' appeal for peace and brotherhood, "Get Together," although the moody backing has it come across more like a plea. There is plenty of charm to her relaxed reworking of The Drifters' hit (by Gerry Goffin and Carole King) "Up on the Roof." Kudos for her rendition of Paul Simon's "American Tune," with a strings section enhancing her plaintive vocal. Koonse takes a short acoustic guitar solo here. The strings also add atmosphere to the optimism expressed in her performance of Bob Dylan's "Forever Young."

Colella plays melodica (and solos) on the rendition of Dylan's protest anthem, "The Times They Are A-Changin'." It is another performance the showcases her skill in highlighting the lyrics. Cotella adds a stark arrangement for the cover of the Buffalo Springfield's "For What It's Worth. It is one of several songs for which Erin Bentlage sang background vocals. One of her top vocals here is of Fred Neil's "Everybody's Talkin'." Hendrik Meurkens contributes an enchanting solo to add to the low-key, rather reflective quality of this performance. Jay Jennings trumpet adds to a nostalgic rendition of Sandy Denny's "Who Knows Where The Time Goes." 

Judy Wexler has produced a most agreeable recording with her appealing, heartfelt vocals and solid, understated backing.

I received my review copy from a publicist. Here is Judy Wexler performing "Up On the Roof" from 2018.

Judy Wexler Crowded Heart

Judy Wexler
Crowded Heart
Jewel City Jazz

This is the fifth album by Judy Wexler and is an effort to present "jazz standards for the 21st century," an anthology of ten timeless modern jazz compositions by contemporary songwriters. The album is arranged by piano great Alan Pasqua (who co-produced this with Wexler). It features a band comprised of some of the finest, first-call musicians in Southern California including Alan Pasqua piano, melodica, whistling; Larry Koonse guitar; Josh Johnson alto sax; Bob Sheppard alto flute; Darek Oles bass; Steve Hass drums; Aaron Serfaty percussion; and Stefanie Fife cello.

When Wexler first conceived of this project, she reached out to jazz historian Ted Gioia, author of "The Jazz Standards," for advice. He told her that jazz stays alive and becomes more than a history lesson or museum piece when a modern composition is embraced and recorded by many vocalists. Gioia himself states that this recording is a joy to listen to and commends "their astuteness in finding and featuring outstanding songs by current-day jazz composers." Some of these composers are Luciana Souza, Larry Klein and David Batteau; Richard Galliano; Kurt Elling; Gregory Porter; Fred Hersch; Norma Winstone; Alan Broadbent; Georgia Mancio; René Marie; Enrico Pieranunzi, Lorraine Feather; Larry Goldings, and Alan Pasqua.

Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet-tone. This is clear on the opening "Circus Life" (from Sousa, Klein, and Batteau), with the supple backing, including Koonse's guitar, which adds a samba-tinge, Pasqua's understated support, and whistling, and Wexler's overdubbed second vocal part. Then there is the charm of her vocal that expresses the longing inherent in Galliano and Elling's "Parisian Heartbreak." Pasqua's melodica solo adds to the allure of this performance. Then there is her rendition of the title track about a relationship ending as she realizes it is time to part which is delivered with style.

While I enjoy Wexler's interpretation of Gregory Porter's "Painted on Canvas" with Josh Jackson's sonorous alto sax, and Pasqua's ingenious arrangement, her mellifluous vocal is overshadowed by Porter's original. Bob Sheppard's alto flute adds to the allure of "The Last Goodbye," another song of remembrance and longing. Then there is Wexler's unabashed romanticism singing René Marie's "Take My Breath Away," with a stunning Koonse acoustic guitar solo. In a program of mostly ballads, the gentle swing of "I Took Your Hand," is a nice change of pace.

Pasqua collaborated with Kirk Elling and Philip Edward Galdston in writing "And We Will Fly" with the dreaming vocal supported by the lovely backing with Fife's cello adding color along with another choice acoustic guitar solo. It closes a beautiful, first-rate vocal jazz recording.

I received my review copy from a publicist. Here is "The Last Goodbye" from this CD.