Dear Ms. Dearie

4-STARS In giving this album a listen, it is difficult not to jump between the original recordings of the great Blossom Dearie, and those newly recorded by modern-day pianist/vocalist Dawn Clement. After all, those who have followed Clement's career have heard the comparisons between the two, particularly the vocal style that those critiquing Dearie referred to as "distinctive," "light," and "girlish." The separator here is that Dearie, while lauded for her original piano style, is more renowned for her colorful, poetic vocals. Clement has thrived in both ways, but is perhaps better known for her powerful, rhythmic and harmonically brilliant original work on piano. The vocal side of her artistry features a wide-ranging, pitch- perfect instrument that has put the finishing touches on the "unique" part of her musical profile. All of this being said, it would seem likely then that Dear Ms. Dearie (Origin, 2026) would be a satisfying listen, and indeed, it is.

There is no dressing things up here, as Clement works her way through fifteen tunes favored by Dearie, with an all-star presence in the studio to assist. Bassist John Clayton and drummer Jeff Hamilton are the perfect complement to this project, able to keep the session swinging at any tempo and in any time signature. Clement's Colorado mate Steve Kovalcheck jumps in on guitar to complete a live-in-the-studio sound that pulls you in for a more intimate listen.

"The Gentleman is a Dope" leads things off, with Clement taking the tune in on piano, establishing the easy swing of her bandmates. Clement does not skip a beat, entering the fray singing the first verse. She gathers things together following Kovalcheck's breakneck solo, before releasing the flow of the melody to the end of the tune. If there is a parallel for starters between the artist and subject here, it is the feeling that the piano and the voice are one thing, of one mind. There is a clear advantage of a singer accompanying themselves, knowing best how to complement the vocal component of their artistry. There is no overplaying or other missteps to be concerned with. Clement's voice darts between notes of the melody in the same bop cadence of her melodic playing on piano. The lead tune reveals the sincerity that takes a perfectly solid performance and makes it exceptional.

"Figure 8" is a tune familiar to those who grew up in the early 1970s watching Saturday morning cartoons. As the theme song for the educational "Schoolhouse Rock" series, youngsters were exposed to Dearie singing Bob McDonough's wispy math- inspired lyrics. Accompanied by the full chords of Kovalcheck and bassist Clayton's elegant bow work, Clement lightly escorts the tune to a higher tempo, adding scant comping while Kovalcheck carries the harmonic load.

"Once Upon a Summertime" is the title tune from Dearie's 1959 Verve Records classic. It is here that Clement's work is illuminated visually, the nostalgic lyrics brightly revealed like landscapes captured by an artist on a bright sunny day. Clement works in tandem with Clayton, offering a stunning solo that flows out of her dynamic sense of emotion within harmony. The ballad may just be the high point of the session, although it is presented as the twelfth track of the fifteen.

No tip of the cap to Dearie would be complete without a version of the David Frishberg penned "I'm Hip," again with lyrics from McDonough. Clayton's walking bass line and Hamilton's sublime brushwork lay down the foundation for Clement's swinging, fleeting treatment of every syllable. Kovalcheck's work throughout the session is perfectly complementary to the other chordal instrument, allowing both he and Clement to play unforced, with an emphasis on beauty and intimacy. On all fifteen tunes, Clement does not have to force a darn thing, her natural musical self fits so perfectly into the spirit of Dearie's work and legacy. While adhering to the simple, straight-ahead setting present on the original classic recordings, Clement makes the music quite naturally hers, perhaps finally eschewing the label of being a pianist who also sings. Those in the know are aware that this has never been the case. Dearie once stated that she did not like singing or playing piano separately. It feels that way throughout the playlist that Clement offers here.

Dear Ms. Dearie may not be Clement's best album to date in terms of her career as a highly original jazz pianist. It is indeed a departure from her preceding trio effort, Delight (Origin, 2025), with Buster Williams and Matt Wilson—but it may be the best manifestation of her complete musical presence revealed.