April—Susanne Abbuehl

(ECM 1766)

In 1997, Swiss vocalist Susanne Abbuehl released her homegrown production, entitled I Am Rose. Abbuehl's debut release reinterpreted modern jazz vocals and was subsequently well received throughout Europe. Susanne's mentor back then was the late vocalist Jeanne Lee (whom she studied with in Los Angeles), a singer who also, in decades past, liked to stretch the boundaries of jazz vocals alongside adventurous players like Mal Waldron, Archie Shepp and Cecil Taylor. Abbuehl, like Lee, combined her subdued and sumptuous tones with more modern and individualistic jazz composers like Ornette Coleman and Carla Bley. In addition, Abbuehl added the literary musings of Gertrude Stein to her distinctive lyrical approach.

Now, five years later, ECM Records founder Manfred Eicher has produced Abbuehl's second effort, titled April. It's a sultry and contemplative vocal endeavor to be sure, and instead of Stein, we have the poetry of E.E. Cummings woven into Abbuehl's secluded interpretations.

The most substantive example of Abbuehl's ability to lyrically transform a tune is when she adds her own words to Carla Bley's "Ida Lupino," one of Carla's most well known compositions. April replaces Bley's customary eccentricity and quirkiness with a smoldering and intimate shift of mood. Pianist Wolfert Brederode adds a foundation of mystery through the haunting instrumental break. Yes, "Ida" undergoes quite a remarkable conversion all right. Add to the originality of the arrangement some inventive counter-solos on clarinet, not to mention the intimate drum work that resembles the percussive artistry of the late Billy Higgins. As the record progresses, April also unveils a total reinvention of the Thelonious Monk standard "'Round Midnight." But, in all honesty, we couldn't deduce the original melody at all from its spatial makeover. But it's no matter; we're still struck by the elusive magic of "Ida Lupino" ... the song, that is, not the movie star.