Jacqueline Gawler is an artist unafraid to explore uncharted creative territories. As a singer/songwriter with Australian female vocal quintet Coco’s Lunch, she has explored diverse genres such as pop, jazz and world beat, incorporating influences from Africa, Brazil and beyond. Over the course of six albums, the group pushed artistic boundaries into areas occupied by world-renowned ensembles such as Sweet Honey in the Rock and Zap Mama. In addition, Gawler spent time abroad studying and working as a West African percussionist, collaborating with some of Brazil’s top jazz musicians and singing in Portuguese. Although her most notable achievements are with the award-winning Coco’s Lunch, she has also sung with inventive groups such as Stoneflower, Picturebox Orchestra and The Jacqueline Gawler Band. Because she has demonstrated such a thirst for adventure and exploration, it may be surprising that it’s taken so long for Gawler to release a project of her own. Perhaps this is because she has fared well in finding willing collaborators who share her musical vision. But none of it is quite the same as having the unencumbered artistic license that Gawler finds with Ambrosia, her album as a solo artist.
As one might expect, Gawler has formidable vocals chops, displaying a command of rhythm, melody and breath control. “Dirt Philosopher” is brooding pop, with a combination of clean and distorted guitar textures and swirling vocal melodies. As she sings, “2012 can you keep up with the pace / or will you keep running this race / 2012 will you pray with me / or will you be leaving with no trace,” Gawler refuses to get caught up in the hysteria surrounding some people’s apocalyptic fears and beliefs. Despite it’s weighty sentiments, “Dirt Philosopher” has catchy appeal, nicely accented by a synthesizer solo reminiscent of Peter Gabriel-era Genesis.
With its lurching organ-drenched rhythm, robust guitar crescendos and serene passages, “Ambrosia” is equal parts sassy and soothing. An imaginative touch comes when the song seems to groan to a halt, only to start up again with a cool bass fill. Unexpectedly, horn charts enter the mix, taking the song to its conclusion. Vocally, even when taking on an assertive tone, Gawler tends to use restraint while getting her point across. Enigmatic lyrics such as, “Ambrosia, what are you waiting for / Inside disaster, inside us all / Is an army of angels, poised ready standing tall / Ambrosia, life is too short and sweet,” leave themselves open to interpretation.
The somber accordion intro and subtle touches on “On My Skin” bestow a slight Astor Piazzolla feel. Though the track lacks a distinctive hook, there is some nice rhythmic interplay and dreamy guitar injections that make things somewhat interesting. “When Passengers Write Poetry and Flight Attendants Sing” has a Carole King meets Rickie Lee Jones pop feel. Thoughtful lyrics and a memorably tuneful chorus make this one of Ambrosia’s stronger selections. “Sahara Nights” has an experimental feel, incorporating hand claps and growling piano rhythms into an eventual soca-flavored beat, though not quite conjuring images of swaying palm trees. Gawler’s lyrics, tinged in abstractness continue to challenge; “You weren’t here for the screening of my Egyptian dream / But you were painted ‘cross the walls of hot Sahara nights.” Despite nicely showcasing Gawler’s impressive harmonizing abilities and some Prince-inspired guitar work, “Sahara Nights” intrigues but doesn’t quite captivate.
Not your typical lullaby, “Goodnight My Little Darling” combines comforting lyrics with tender kalimba melodies. Her vocals, redolent of brilliant jazz songstress Cassandra Wilson, brim with warmth and clarity. With gentle hand drums and Eugene Ball’s lovely trumpet lines, “Goodnight My Little Darling” exemplifies Gawler’s tasteful artistic talents and probably wouldn’t sound out of place on a Coco’s Lunch album. The adventurous “Varkala” features syncopated rhythms and vocals, possessing elements of flamenco and Middle Eastern music. As Gawler sings, “Take me to ocean blue clean sheet sand sky / Open up my eyes and feel the sea shift / And the water glisten on her skin / Take me in, take me in,” once again the listener is left to ponder and reflect. Although “Varkala” is fascinating from a creative standpoint, it fails to make of an much of an impact in terms of melody.
Gawler closes Ambrosia with two covers. Soundgarden’s melancholy “Black Hole Sun” seems like a natural choice, as it fits with the mood of the album. Chris Cornell’s thought-provoking lyrics such as, “Stuttering, cold and damp / Steal the warm wind tired friend / Times are gone for honest men / And sometimes far too long for snakes,” are right at home on Ambrosia. Gawler’s treatment of “Black Hole Sun” retains the structure and feel of the original, though she does soften the edges a bit and adds her trademark harmony vocals. The Beach Boys’ “God Only Knows” is mellow and brilliant with its sunny bossa nova guitar and Brazilian-influenced vocal touches. Though she waits until the very end, Gawler delivers Ambrosia’s most joyous and affirming piece, highlighted by her warm and unassuming vocals and Brian Wilson and Tony Asher’s straightforward lyrics.
Jaqueline Gawler is an impressive talent who obviously took great enjoyment making in Ambrosia, relishing the freedom of expressiveness that such a solo project offers. Although some tracks make a stronger impression than others, the album makes for good listening nonetheless and impresses by combining seemingly disparate elements and Gawler’s terrific instrumental and vocal prowess.
Review by Mike Roots
Rating: 3 Stars (out of 5)
No comments:
Post a Comment