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Who Is Jill Scott? Words and Sounds
Vol. 1 |
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This album follows
in the tradition of other recent female R & B artists such as Lauryn
Hill and Macy Gray, who experiment with word and sound to create unique
works of art. Jill Scott blends hip-hop, jazz, soul, and highly personal
lyrics into an ambitious debut work which effectively answers the question
its title poses. As such it is tempting
to dismiss the album as the "flavour of the month" disc of
choice for urban hipsters. Where Scott's work differs from her contemporaries
however, is important to understanding the genius in composition of
this work. There is not a single track on the album that could legitimately
be called "up-tempo." Even the two or three tracks which are
"danceable" on Who Is Jill Scott? Words and Sounds Vol.
1 are only such in a slow, smooth groove way more akin to artists
such as Anita Baker, duo Zhané (who like Scott, hail from Philadelphia)
or chanteuse Erykah Badu than the brassy, breathy pop of Gray and the
reggae-tipped higher hip-hop consciousness of Hill. I first discovered
Jill Scott for myself by seeing the video for Track 4 ("Gettin'
in the Way"). Not only was the song intriguing in its in-your-face,
Jerry-Springer-Show-storytelling, but the brilliant writing of hooks
in both the chorus and bridge as usual means that one is singing along
for days afterwards until the brain can take no more and the album must
be purchased. The album in question did not disappoint. While on first listen
the album was not an immediate revelation, it must be listened to in
an appropriate context. Track 8 ("It's Love") is the strongest
showcase of Scott's talents as a vocalist on the first hearing, proving
that she can handle scat, swift changes in syncopation, and difficult
harmonies in a fun and earthy way. Her producer, D.J. Jazzy Jeff of
"Fresh Prince" Will Smith fame, layers the instruments and
rhythms on this track in surprisingly baroque ways - suddenly adding
a Fishbonesque ska horn section here, swiftly dropping the bongo section
there. The rest of the album
reveals itself when properly placed - a rainy Sunday afternoon, a late
evening by the fire, or a similarly laid-back setting. As it unfolds
it continually surprises in its juxtaposition of material: the classic
80's R&B feel of Track 13 ("Slowly Surely") is followed
by the at first listening seemingly bizarre but later impressive Track
14 ("One is the Magic Number") with its mix of Bolero, Tango,
and unpredictable phrasing. Scott can evoke Nancy Wilson in Track 5
("A Long Walk") and Sarah Vaughan in Track 6 ("I Think
It's Better") through a single note or turn of phrase, and yet
retains her own vision in the work. It remains to be seen
whether Scott is a one-hit-wonder or an artist of future promise. She
has a great ear for phrasing, a lyrical bent, and a talent for setting
a sensual mood without overtly announcing her presence. For this reasons
alone, this album will likely serve as great chill-out, romantic music
for years to come. |