DIVA 3DCD-2017, CD $17.99, available at http://divajazz.com/sights-and-sounds/recordings/3divas_cd/
Should it matter that the music you're listening to is performed entirely by women?
That's the problem I had right out of the gate when it came to reviewing this eponymous debut CD from three supremely talented jazz musicians—pianist Jackie Warren, bassist Amy Shook, and drummer Sherrie Maricle. Initially, without any prompting from the liner notes, I thought this new CD sounded flat-out wonderful. While these three women have only been playing together since 2014, when they sat in with the DIVA Jazz Orchestra for the Cleveland Playhouse's production of Maurice Hines' Tappin' Thru Life, they're a solid trio that creates a sophisticated and fleshed-out sound.
That's the real news here, that this is one more superb contemporary jazz release in a year that's been rife with them. I'm certainly not going to tell you that Warren, Shook, and Maricle sound just as accomplished as any male trio out there. That would be unbelievably sexist, right? But I suppose I'm slightly disappointed that a subtle but equally troubling marketing approach—let's call it diva-ness—has been embraced, and the whole project feels like it's been marketed on the idea that wow, women can excel in jazz trios as well. It's part of the corporate branding, after all, the very name of the record label and all the people involved, so I don't think anything will change soon. But if these three women were in their twenties, they probably wouldn't be basking in their diva-ness. It's a conceit from a time that has passed. The days of Sweet Sue and her Society Syncopators are long gone, right?
I've gotten that out of the way, so let's focus on the music. It's superb in every way. The trio covers just seven well-known tracks, everything from "Tennessee Waltz" to "Sunshine On My Shoulders" and even a wonderfully upbeat version of "The Beat Goes On" for a finale. But these are three performers who really dig around, elaborate, evolve and explore without needless improvisation and solos, and that stretches out the track lengths in a way that's barely noticeable. That's because there's also a keen sense of unity with this trio—they're in this thing together. Even on the rare occasions when someone's pushed to the front of the stage, there's an equally tangible feeling that the other two musicians are standing close by, ready to pitch in if necessary.
What really sets this trio apart is a quality I don't discuss very often, but should. I'm talking about swing.
I like swing. In jazz, it's all about momentum. It's about finding that moment when everything clicks together and the music just starts flowing effortlessly out into the room. A strong sense of swing should induce goosebumps. It's like driving through a crowded city with lots of traffic, and then suddenly the road opens up and you're gliding through the countryside at seventy miles per hour and there's a smile on your face.
It should be no secret that a trio that's strong on unity should also swing, but these three continually reinforce and emphasize that idea at every switchback and turn. Again, we're talking about seven tracks that average seven or eight minutes long where there are few solos, few atonal explorations and few moments to catch your breath. It's about inspiration, about riding a melody like it's some wild beast.
There are transitional moments, quiet periods between the thunderstorms, such as when Warren starts off Antonio Carlos Jobim's "Favela" with a somber, thoughtful prelude before Shook and Maricle arrive and proclaim, "Yes, we also excel at all forms of Latin Jazz!" (Warren, in particular, specializes in this genre.) This particular track is so exciting because of all those shifting gears, and the fact that each member has a firm foot on the clutch. Warren has even more time to spread her keyboard wings on "In the Wee Small Hours of the Morning" before the others join in, and what's amazing here is that the other two glide in so softly that the spotlight on Warren never flickers, even for an instant.
Photo courtesy Garth Woods
After the first few listens, I suspected this highly polished sense of unity was yet another case of the whole being more than the sum of its parts. Each musician plays in a slightly understated style, and the magic happens only when the puzzle pieces are in place. But deeper listening reveals much more about each musician. Maricle is a particularly strong and athletic drummer who can play fast and loud whenever she wants. Shook's bass has a ripened sound to it that always sets the groove—listen to how she grabs a bow and carries most of the themes through the John Denver tune. Warren's piano can sound breathtakingly beautiful at times, all quickness and light. Each member also sports a hell of a resume… there's a PhD and guest conductor here, performances at the Kennedy Center and the White House there, and lots of collaborations with legendary musicians such as Lionel Hampton, Maurice Hines, Tito Rojas, Clark Terry and more.
But none of that is important as the music, presented here with a stunning sound quality that again enhances the idea of three skilled musicians playing together instead of separately. Perhaps that's why I'm not thrilled with the 3Divas moniker, which suggests three prima donnas fighting for top billing on the marquee. I almost prefer 3Sisters, even though it does eliminate the "3D" aspect of the logo. It highlights the strong and unusual bond between these three dedicated jazz musicians, kindred spirits who defy all expectations.
