Monika
Borzym - Girl Talk
2011, Sony Music
Monika Borzym’s heroes have always
been trumpeters: Miles Davis, Chet Baker
and Terrence Blanchard were her gateway into Jazz. While there, Borzym was captivated by the
divergent voices and styles of performers such as Ella Fitzgerald and Carmen
McRae. The Poland-born crooner studied
in the United States at Miami’s Frost School of Music, furthering her love and
knowledge of jazz and classical forms under teachers such as Lisanne Lyons,
Larry Lapin, Ira Sullivan and Shelly Berg.
During her time at Frost, Borzym met guest lecturer Matt Pierson (Joshua
Redman, Chick Corea, Pat Metheny), who is Borzym’s primary collaborator on her
debut album, Girl Talk.
Borzym opens with a cover of
Amy Winehouse’s "You Know I'm No Good", showing off a sweet and
sultry voice that would be right at home in a 1930's gin joint. Monika Borzym
delivers crisp lines with a polished presence that belies her 19 years, and her
instrumental accompaniment is first class. "Extraordinary Machine"
finds Borzym taking on a manic, talk-sing lyrical barrage in conjunction with a
minimalist arrangement. The result is an intriguing tune that will leave you
dizzy yet satisfied. "Even So" stands out from a string of exceptional
performances, with Borzym imparting a mature presence and seasoned melancholy
in dulcet tones that will have you quietly on the edge of your seat.
The opening cadence of
"American Boy" (Estelle) carries vague suggestions of Jobim's
"Girl From Ipanema". This is no retread, however, as Borzym launches
into a modern jazz tune that remembers its classic heritage. Borzym digs into a
1970's singer/songwriter pastiche for "Field Below", which bears a
vague musical resemblance to Procol Harum's "Whiter Shade Of Pale".
The song is elegant and refined, with a gorgeous melody, and Borzym walks it
home like a pro. “Appletree” (Erykah Badu) shows a more modern, soulful jazz sound.
It feels as Borzym is a bit rushed by the arrangement here, but it all works
out well in the end. "Down Here Below" (Abbey Lincoln) is a gorgeous,
blue recitative that drips with regret. Borzym's voice is never lovelier,
taking on a reserved air that is full of an eloquent and desolate beauty.
"Gatekeeper" (Feist) is cut from similar cloth, but woven with more
subtlety.
Borzym goes Vegas on "Dry
Cleaner From Des Moines", a frenetic little tune that borders on the
vestiges of bebop. "Abololo" (Marisa Monte) slows things down, with a
tentative piano leading the way for Borzym's lush vocal line. "Possibly
Maybe" (Bjork) is well intended, but becomes something of an undirected
mess in spite of Borzym's attempts to save it. Girl Talk closes on a
positive note with an unconventional cover of Pink's "Thank You" that
is true to the original but puts Borzym's distinctive stamp on the song.
Monika Borzym has a captivating
voice, and a presence that's bewildering in one so young. This is the sort of
album you simply can’t put down; Borzym’s call is like that of a gentle Siren,
relentlessly pulling you in. Girl
Talk is one introduction you won't soon forget, as Borzym appears poised to
become one of the next big names in vocal jazz.
Rating: 4 Stars (Out of 5)
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