Beginning with the murkily moody single titled "Strange Fruit" and closing with a nature-inspired arrangement of the Neil Young classic "Harvest Moon," Cassandra Wilson begins and ends her new CD "New Moon Daughter" by showing one-time listeners and jazz connoisseurs alike that jazz is truly a state of mind.
The title "New Moon Daughter" was inspired by a proverb that says illness accompanies a wandering moon, and a new moon cures disease. Like its namesake, the album symbolizes a new twist in style for Wilson.
The work is pure acoustic jazz -- never sentimental but always full of fire and pizzazz. It makes listeners aware that her fans have only seen the tip of the proverbial iceberg, even though "New Moon Daughter" marks Wilson's ninth album.
Touted as the Ella Fitzgerald of our era, Wilson pushes the boundaries of what is expected and trailblazes across new territory in which rock, folk and blues co-exist, with subtle differences among the three.
Wilson has never previously achieved such balance in her work, or been able to so coherently harness and contain her diverse artistic impulses to the service of this one recording.
This album also represents a culmination of years of hard practice and work for this 41-year-old songstress from Jackson, Miss.
Jazz has been a distinct presence in her life, beginning with the influence of her father, the late guitarist/bassist Herman Fowlkes, and continuing with her present-day aspirations.
She grew out from her jazz and blues roots by first performing with an Arkansas band named Bluejohn and later joining forces with Brooklyn's M-band jazz collective when she moved to New York City in the early 1980s.
While having recorded albums for years, it wasn't until Wilson's acclaimed 1993 album, "Blue Light Til Dawn," that the chanteuse gained world-wide recognition.
That album, a breezy, folk and jazz explosion, was also the place in which the diva experimented a little by including a reworking of the song "Tupelo Honey" by Van Morrison.
"New Moon Daughter," which has garnered critical acclaim from several executives within the music industry, symbolizes a marked difference from Wilson's past forays.
On this album, she continues to rework other classical tracks, including songs previously recorded by Hank Williams and Billie Holliday.
In fact, most of the songs included in this collection are cover tunes, from a rendition of "Last Train to Clarksville" by the Monkees to a funky, lush arrangement of "Love is Blind" by U2.
The album thus provides a kaleidoscopic view of many musical genres and it showcases Wilson's diverse talents as the singer leaves no musical style unturned.
Although the songs are not her own, Wilson -- blessed with a lilting, vibrato-filled voice -- seems to make them her own in a sense.
Wilson provides the meat-and-potatoes basics to an accompanying band of stand-up bass, brushed drums and sobbing acoustic guitar. These tunes are further enhanced by the sounds of a muted trumpet and dashes of an accordion.
Together, Wilson and the band make a formidable force. Neither one out-does the other, but embellishes and polishes what is already there.
Her voice is always the jewel of the rich, luxurious sounds around her. In fact, the album reminds listeners of a Jackson Pollux conflagration set to music.
Wilson explores the topics of sex, unrequited love, and the mystery of blues in songs that range from original to standard fare.
She moans on artfully sung folk-rock ballads, conjuring up feelings and emotions that seem to have been left out of previous renditions of songs.
Additionally, she contributes a distinctly unique and interesting stamp on the old and pioneers new ground with the new material.
The songstress, who wooed an audience here when she visited the College last November, has also shown a greater maturity of sound after only a few months.
During her concert, Wilson gave audience members an inside peek into new selections which she later incorporated in this album, including a take on the biblical character Solomon, about whom she croons in the track "Solomon Sang."
With this latest project, Wilson has been featured in periodicals such as Entertainment Weekly, Details, and Vibe magazine.
Wilson, with "New Moon's Daughter," presents a stylish and impressive repertoire of music standards which is sure to please both old and new listeners.
Intense and charismatic, this album is a romantic paean to the cycle of life -- love, hate, and harmony -- and represents the artist's best work to date.
