Full Review

Sarah McKenzie, Without You Review

Without You is a vibrant collection of Brazilian jazz, lovingly compiled by the talented jazz pianist, composer, and singer Sarah McKenzie. This album marks her sixth studio venture and is a heartfelt homage to Brazilian music, particularly the works of Antonio Carlos Jobim. McKenzie’s profound connection to Brazilian music and culture drives this project, blending Jobim’s classics with her original compositions and other tasteful selections.

The album starts with “Gentle Rain,” setting a high bar with its slow tempo and cinematic quality, perfectly capturing the song’s sensuality. McKenzie’s tribute to Diana Krall in this piece is evident in her sensual phrasing and relaxed Latin feel, offering listeners an immersive experience.

In “Corcovado,” McKenzie’s clear, gorgeous singing harmoniously intertwines with Jaques Morelenbaum’s haunting cello lines, creating a sublime textural balance. This piece exemplifies the soulful connection between McKenzie and the Brazilian jazz tradition.

“The Voice of Rio” and “Mean What You Say,” two of McKenzie’s originals, are standouts. The former, a tribute to Jobim, evokes vivid imagery of Rio de Janeiro, while the latter, a fast samba, echoes the style of Joao Gilberto, driven by the compelling rhythms of Peter Erskine’s drums and Geoff Gascoyne’s bass.

Morelenbaum’s contributions, especially his arrangements for “Dindi,” “Bonita,” and “Fotografia,” add a romantic layer to the album. His cello harmonies blend exquisitely with McKenzie’s vocals, creating a warm, emotional soundscape.

The album’s rendition of Jobim’s “Once I Loved” is tender and emotive. McKenzie’s delivery is wistful, drawing out the longing in the lyrics, while “Quoi, Quoi, Quoi,” another McKenzie original, showcases her playful compositional skill, highlighted by Bob Sheppard’s inventive saxophone solo.

“Without You,” featuring lyrics by McKenzie set to guitarist Romero Lubambo’s composition, is a poignant exploration of lost love. Sheppard’s flute and Rogerio Boccato’s percussion add depth and emotion, framing McKenzie’s vocals within Romero’s masterful guitar work.

McKenzie’s approach to “Wave” and “Dindi” is noteworthy, particularly her attempt to capture the joy in Elis Regina’s version of “Wave” and the poignant emotion in “Dindi,” enhanced by Sheppard’s flute solo and her own expressive piano playing.

Her innovative take on “The Girl From Ipanema” showcases her willingness to reinvent a classic, starting with its bridge and weaving new transitions to create a unique suite-like arrangement.

Closing with “Chega De Saudade (No More Blues)” and “Bonita,” McKenzie brings fresh interpretations, blending English and Portuguese in the former and concluding with an evocative solo rendition of “Modinha.”

Jacques Morelenbaum’s cello playing is a highlight, offering a lyrical richness that rivals the human voice. His influence seems to inspire Sheppard’s choice of flute over saxophone, adding a unique texture to the album. The ensemble, including Erskine, Boccato, and Gascoyne, complements McKenzie’s piano and vocal work, creating a cohesive and resonant sound.

McKenzie’s vocals skillfully navigate the melodic lines of each song with ease. Her interpretation brings a contemporary perspective to Brazilian classics, inviting listeners to rediscover these compositions anew.

Without You is a serene yet profound journey through Brazilian jazz, where each track reflects McKenzie’s deep reverence for the genre. Her fusion of Jobim’s works with her creative expressions and originals results in an album that presents a fresh perspective to Brazilian jazz. That’s the short of it!