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CurrencyofManMelodyGardot

I will confess that Currency of Man is one of my favorite Gardot albums. It is not only the perfect “next album” in Melody Gardot’s career, it elicits all of humanity within her music making – hope, sorrow, love, hate and it is her sonic impressionist reporting of (mostly contemporary) urban life. While her earlier albums, Worrisome Heart and My One and Only Thrill were within the core of vocal jazz, she really branched out in The Absence to different and more experimental sounds. The Absence grew on me over time but it didn’t resonate immediately as did the earlier two. Now comes, Currency of Man which still has the stamp of experimentation and an almost playful quality to it while bringing it more into the heart of vocal jazz and making it a bit more accessible. I saw her recently referred to as a soul singer; I think that’s probably the best epithet to use; yes she focuses on jazz but since The Absence, she performs across genres. The production and orchestration on the album is almost dead-on perfectly aligned with the songs and their meaning. You might think a Larry Klein production would be overly lush but this has minimalist songs as well as lush productions. Clément Ducol brings his own Franco-laced touch. The overall sound is an ideal blend of vocal and orchestration. Given that another perspective on the album has already been given on ppcorn here, I’ll focus on the songs from The Artist Cut along with some others of particular note on an album filled with fabulous songs.

For full review:Currency of Man – Artists Cut Full Album Review

 

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