Delightful piano jazz spurred on a playful, powerful voice make Pamela Hine's album a bit of sunshine on a rainy day. Hines' ability to travel seamlessly from Latin-inspired rhythms to smoother, blues-flavored melodies grants the listener ample opportunity to sample a smorgasbord of influences and fused sounds. While the powerful stylings of Hines behind the piano are more than a mouthful alone, the vocals of April Hall manage to bring words to the winding, harmonic roadwork without being overbearing.
Whereas the lady with the microphone is usually the icon around which the rest of the players gravitate, it is Hines' plunking away at the piano that steers the course throughout. Hall's lyrical accompaniment merely stands as homage to Hines' compositions, bestowing language to the carefully contrived orchestrations. Hall's contribution is far from mere background noise, however, and she is given plenty of chances to show off her talent. For instance, in songs like the "I-95," where traditional elements of fringe Cuban jazz are presented and then tweaked by the sudden intrusion of bass and drums following the introduction, Hall's voice provides authenticity to the Latin tunes.
Hines' background as not only a skilled musician, but a trained scholar in her field, shines through as the prevalent theme of the album. These tracks are new creatures pieced together with knowledge of the signifying beats and harmonies of numerous Meso-American and East Coast genres. The greatest complaint I can levy against the album is that so much is packed in there it can be an overwhelming task to try and take it all in on one sitting. However, half the fun in buying a CD that will last you a few years is being able to replay it again and finding something that previously escaped your attention. Plus, you just can't beat the asking price for this stuff. All-in-one and cheap? Truly a miser's dreams come true!
Alexander Rogers
Hall Sings Hines
Delightful piano jazz spurred on a playful, powerful voice make Pamela Hine's album a bit of sunshine on a rainy day. Hines' ability to travel seamlessly from Latin-inspired rhythms to smoother, blues-flavored melodies grants the listener ample opportunity to sample a smorgasbord of influences and fused sounds. While the powerful stylings of Hines behind the piano are more than a mouthful alone, the vocals of April Hall manage to bring words to the winding, harmonic roadwork without being overbearing.
Whereas the lady with the microphone is usually the icon around which the rest of the players gravitate, it is Hines' plunking away at the piano that steers the course throughout. Hall's lyrical accompaniment merely stands as homage to Hines' compositions, bestowing language to the carefully contrived orchestrations. Hall's contribution is far from mere background noise, however, and she is given plenty of chances to show off her talent. For instance, in songs like the "I-95," where traditional elements of fringe Cuban jazz are presented and then tweaked by the sudden intrusion of bass and drums following the introduction, Hall's voice provides authenticity to the Latin tunes.
Hines' background as not only a skilled musician, but a trained scholar in her field, shines through as the prevalent theme of the album. These tracks are new creatures pieced together with knowledge of the signifying beats and harmonies of numerous Meso-American and East Coast genres. The greatest complaint I can levy against the album is that so much is packed in there it can be an overwhelming task to try and take it all in on one sitting. However, half the fun in buying a CD that will last you a few years is being able to replay it again and finding something that previously escaped your attention. Plus, you just can't beat the asking price for this stuff. All-in-one and cheap? Truly a miser's dreams come true!
