There's a special pleasure to be had when a promising artist
not only fulfills all expectations but then dashes ahead to produce a rare work
of outstanding beauty. With her new recording, Off Beat, Katie Thiroux, a world
class bassist and charismatic singer, proves that all the initial critical
attention she garnered from both her debut album and subsequent live
appearances was merely a spur for her to quickly surpass her laudable
achievements.
Utilizing the contributions of pianist Justin Kauflin and drummer
Matt Witek, as well as saxophonist Roger Neumann and saxophonist and clarinetist
Ken Peplowski (and once again employing the skillful production of Jeff
Hamilton), Thiroux has conjured up a dream project that certifies the wellbeing
of exceptionally crafted mainstream jazz.
What first strikes an attuned listener on hearing Off Beat
is that while Thiroux's gifts as a bassist are at the top level, her singing
has evidently matured, taking on a mellow, yet eminently swinging,
expressivity. Her sly interpretations of "Off Beat," an overlooked
gem from the catalogue of the great June Christy; "Some Cats Know," a
Leiber and Stoller favorite of Peggy Lee; and Benny Carter's classic "When
Lights Are Low," as well as her scat line on Ray Brown and Walter Fuller's
bebop prize, "Ray's Idea," are telling examples of her rhythmically
shapely vocals. But three additional performances truly exhibit how thoroughly
Thiroux has evolved as an assured vocalist. "When the Wind Was
Green," a seldom visited Frank Sinatra track from 1965, finds Thiroux's
vocals supported only by her formidable bass and Peplowski's lyrical clarinet;
on the chestnut, "Willow Weep For Me," Thiroux forgoes additional
assistance, her own bass and vocals relaying the whole vivid story. And in the album's biggest (and happiest) surprise,
Thiroux lays down her instrument altogether for the emotional standard,
"Why Did I Choose You?," Kauflin's supportive piano cradling her
gently nuanced vocal. These sublime tracks send a clear message: Thiroux is
taking her singing as seriously as she is her remarkable bass playing.
Of which, let there be no doubt, there are plenty of
marvelous examples. On swinging performances including "Brotherhood of Man
(from the Frank Loesser musical, "How to Succeed In Business Without
Really Trying"), or the easy grooving Thiroux original "Slow Dance
With Me," and the sensually intoned Duke Ellington masterpiece "Happy
Reunion" (once a feature for star tenorist Paul Gonsalves, here a
showpiece for the gorgeous weave of Peplowski and Neumann's horns), Thiroux
exhibits her rock solid technique, embracing tone and intuitive support.
Swinging like crazy, Thiroux drives the music, no matter the tempo, displaying
a balance of superior technical skills and exquisite taste. Her well-chosen
features-like only the best of leaders, Thiroux knows when not to solo- are
stunning instances of melodic inventiveness wedded to badass chops.
With the release of Off Beat, Thiroux has found herself in a
pleasing conundrum. The only thing that can divert attention from her
auspicious bass playing may be her praiseworthy vocalizing. It's a tough
position to be sure, but it's obvious this multi-talented savant can handle it.
Studying both bass and voice since her pre-teenage years,
Thiroux continued her musical education at the Berklee College of Music where
she performed with Branford Marsalis, Greg Osby, Dr. Billy Taylor, Terri Lyne
Carrington and others. In 2013, a year after receiving her master's degree in
jazz studies from California State University, Long Beach, Thiroux organized,
and has since maintained, her own touring ensembles. Her 2015 debut album,
Introducing Katie Thiroux, earned broad acclaim including a place on the best
debut lists of the NPR Music Critics Poll, Huffington Post and All About Jazz.
Performing throughout the United States and various international venues,
Thiroux has worked with, among others, Eric Reed, Terell Stafford, Brian Lynch,
Tierney Sutton and Patti Austin. This summer, she will be Artist-In Residence
at Quincy Jones's new jazz club, Palazzo Versace in Dubai.
Performances:
o June 27 - Sept. 2 - Artist in Residence at Quincy Jones' Palazzo Versace, Dubai
o Sept. 7 - Chestertown Jazz Festival at the Mainstay, Rock Hall, MD
o Sept. 9 - Deerhead Inn, Delaware Water Gap, PA o Sept. 10 - Birdland, New York, NY
o Sept. 12 - Regattabar, Cambridge, MA o Sept. 20 - The Velvet Note, Atlanta, GA
o Sept. 22-23 - The Jazz Corner, Hilton Head, SC o Sept. 24 - The Ritz Theatre, Jacksonville, FL
o Sept. 29-30 - The Green Mill, Chicago, IL o Oct. 3 - Nocturne, Denver, CO
o Oct. 5 - Clinic, Solon High School, Solon, IA o Oct. 7 - Noce, Des Moines, IA
o Oct. 8 - Dunsmore Room, Minneapolis, MN o Oct. 9 - Clinic, St. Paul Conservatory High School, St. Paul, MN
o Oct. 13 - The Bop Stop, Cleveland, OH o Oct. 14 - BLUJazz, Akron, OH
o Oct. 26 - Nov. 5 - Tour of Denmark
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