Esperanza Spalding is a welcome breath of fresh air in a music industry often saturated with gimmickry over authentic talent. A bona fide student of her craft, Spalding sincerely combines a Berklee-educated pedigree with a highly introspective approach toward music. Her performances are not only an opportunity to gaze vulnerably into her soul, but they also provide willing participants an opportunity to resonate with that which moves them personally. Her style and songs are well thought, well prepared, and well received by many.
Spalding’s latest commercial release is Chamber Music Society. Though presented in a montage style (as in her previous two albums Spalding ventures through many styles of music), all of the recordings are distinctly the signature of her essence. Her discoveries are inspiring, and as she leads us through the syncopations of Bossa Nova and the atonal counterpoint of her intentional orchestrations, this album is a reminder that music is an organic process which encourages exploration. The widely popular Little Fly has become the commercial gem of this project, justifiably so as it’s mantra-like quality evokes moods of matter-of-fact simplicity. The music video for Little Fly can be viewed online.
While her intimate proficiency with the double bass sets her apart from most peers, Spalding’s vocal style is equally accomplished and unique. She has a hypnotic ability to cause listeners to hang on her every syllable. Her subtle phrasings and sparkling nuances create an aura of drama reminiscent of Nancy Wilson. She is the type of artist that can be trusted to contribute relevant and necessary art for years to come. Esperanza Spalding is exactly what music needs.
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