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Reviewers: Don Mather, Tony Augarde, Dick Stafford, John Eyles, Robert Gibson, Ian Lace, Colin Clarke, Jack Ashby



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MELODY GARDOT

Worrisome Heart

Universal 1749640

 

 


 
1. Worrisome Heart

2. All That I Need Is Love

3. Gone

4. Sweet Memory

5. Some Lessons

6. Quiet Fire

7. One Day

8. Love Me Like A River Does

9. Goodnite

10. Twilight
 
Melody Gardot - Vocals, guitar, piano
Ken Pendergast - Bass (tracks 1, 2, 5, 6, 8, 10)
Charlie Patierno - Drums (tracks 1, 2, 4-6, 8-10)
Dave Posmontier - Piano (tracks 1, 6)
Joel Bryant - Hammond B3 organ, Fender Rhodes, Wurlitzer (tracks 1-3, 6)
Matt Cappy - Trumpet (tracks 1, 6, 8)
Ron Kerber - Tenor sax, clarinet (tracks 1, 2, 6)
Jef Lee Johnson - Guitar (tracks 2, 5, 10)
Diane Monroe - Violin (track 3)
Mike Brenner - Lap steel (tracks 3, 9)
David Mowry - Dobro (track 4)
Krista Nielsen - Cello (track 5)
Kurt Johnston - Dobro (track 5)
Stan Slotter - Trumpet (track 7)
Barney McKenna - Guitar (track 9)
Paul Klinefelter - Bass (track 9)
Patrick Hughes - Trumpet (track 9)

 

This is one of those albums where the story behind the making of the CD is more interesting than the album itself. At the age of 19, Philadelphia-based Melody Gardot had a serious accident which left her with serious disabilities. Her doctor, learning of her previous interest in music, suggested that music might aid her recovery, so she began singing and writing songs. She made an EP of some songs but this is her first full CD, although it only lasts for just over 33 minutes.

Interviewed for the BBC's Jazz Line-Up programme, Melody Gardot described herself as a singer-songwriter and that's a fair description. She is not a jazz vocalist, even though she does quite a lot of scat singing. There are more hints of folk and country music than jazz in her performances. She has a pure, smooth voice, and she accompanies herself on guitar and piano, with help from a very varied group of instrumentalists.

The songs are insubstantial - you might say flimsy - both melodically and lyrically. And their predominant subject is the singer herself: mostly how she wants to be loved, a theme which crops up in several of the songs. The sleeve-notes are also very self-involved. Perhaps this solipsism is understandable in someone who has apparently been through a lot of suffering but it would have been better if more of the songs had been outward-looking. She is being hailed in some quarters as a great new talent and being compared to Norah Jones but, on the evidence of this CD, her musical and emotional range is very limited.

Tony Augarde



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