Beneath the Skin

There's an unrelieved lament to Nnenna Freelon's latest release, and only occasionally do the songs break from a slow, mournful narrative.

The expressive range of Freelon's voice — and its versatility from tune to tune evokes Aminata Moseka (Abbey Lincoln), Nina Simone and Billie Holiday — soars brilliantly on "Changed," but she quickly settles back into a gloomy sphere, almost tearful on "Widow's Song." On "Dark and Lovely," her vocal timbre morphs pleasantly with Evan Roberson's trombone, and that blend of the two voices continues on "Black Iris" before they give way to Alan Pasqua's
elegant solo on piano. His technique on the keyboards is at times a plaintive echo of Freelon's lyrical probing.

The deep blues tendency emerges most longingly on the "Last Dream Home," and Keith Ganz's guitar is an emotional balance to Freelon's heartfelt interpretation. Billie Holiday's "Strange Fruit" is referenced on the album's title song, with mention of willow and sycamore trees standing in place of the poplar, and there's a hint of Lady Day's haunting intonation and elongated phrasing. Freelon and crew even apply a lilting sadness to the usually folksy uptempo "Oh!
Susanna," particularly when she moans, "Don't you cry for me." A forlorn shadow hovers over both this date and a singer whose effervescence has won her a galaxy of fans. Perhaps this is just another element of connecting personally with her audience, or merely the lingering effects of a healing process. Whatever: Hers is an indomitable musical spirit.