Monday, August 13, 2018
Allen Austin-Bishop's No One Is Alone
With Allen Austin-Bishop, it's all about interpretation. He's known for having a warm, conversational tone, and he bend the notes into something unusual, something you haven't heard before. On his new album, No One Is Alone, he tackles some of the softer jazz ballads in the songbook in a way that will make you feel like he's in your living room, sitting next to you, putting that proverbial new spin on everything from "The Way We Were" and "The First Time Ever I Saw Your Face" to "Amazing Grace," and he does it with the road-worn weariness of someone who's been out there for decades. He's doing nothing by the numbers, and it might challenge you if you're expecting someone more, well, forgettable.
This is a slow album, one that takes its time because it's about something--the interpretation. His back-up ensemble is minimalist, a trio consisting of pianist Alex Maydew, bassist Mao Yamada and drummer Rob Hervais-Adelman, and they understand the pace. They're also sensational in the way they set the mood behind Austin-Bishop, providing music in an unusually grounded manner. On the other hand, they understand the drama that is so essential to a big, warm voice in the middle of it all.
If I'm suggesting his voice is different, it is. Some people, as I've hinted, might not get the way he injects the tangible sadness into the discussion. The first time I listened to this album, in the background, I was struck by the fact that Austin-Bishop doesn't care about hitting those high-notes that can deliver the goosebumps. He sings with authority, and he also sings with plenty of ragged edges, the kind of edges that might throw off the listener during a cursory listening session. Focus on what he's doing, however, and you'll unearth something else, a naked honesty that comes from living a life marked by a singular vision. He doesn't bow to convention, and that might not appeal to everyone.
When you look at the whole picture, however, a different perspective emerges. Honesty, as I've already mentioned, is sometimes a rare commodity among jazz singers. He sin't afraid to toy with the tempo, or find another key that fits what he is feeling. It's different, as I've said. But it commands your attention in a way that's refreshing. There's a deep resonance in his voice, something that gets pulled deep from within this man, and it means something.
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