On Saturday, the bassist who graced the stage of the Theresa L. Kaufmann Concert Hall wasn't the one the crowd was expecting. We were awaiting the Grammy-winning artist Esperanza Spalding; this musician, with straightened hair, hip new clothes and blue-rimmed glasses, referred to herself as Emily What as she hoisted a Fender Precision Bass into the spotlight.
In fact, Spalding and Emily What are one and the same, and Spalding's new alter-ego soon filled the theater with soul sounds of old, complete with two-chord vamps, infectious bass lines, and tight rhythmic motifs. If you know anything about Spalding and her recent accomplishments, you will no doubt find this new incarnation of her and her music somewhat perplexing. Her 2010 album, "Chamber Music Society", gave all the evidence needed to explain her Grammy win. It contained brilliant, original compositions and inventive use of acoustic and electric basses. It attracted the attention of the mainstream and gave her the notoriety to bring her unique brand of jazz to the masses. So for Spalding to begin a pet project detracting from the genre that made her a household name is surprising, to say the least.
Fortunately, she may have found her niche. The songwriting had a novelty and instantly recognizable urbanity that great soul artists like Stevie Wonder and Marvin Gaye all possess. Likewise, her new band, comprised of Corey King on trombone and background vocals, Karriem Riggins on drums, Matthew Stevens on guitar, and Nadia Washington on classical guitar and background vocals, all inhabited their respective roles in a such a seasoned, synchronized manner that their longevity as a group is certain. Stevens in particular had all of the chutzpah of a rock star and played dazzling double stop guitar lines. Riggins, King and Washington followed suit to create a soulful tapestry which served as a perfect backdrop for solo lines. That is to say, the group was the star of the show, not Spalding.
Additionally, I felt that the group would have benefitted from a stronger voice than Spalding's. That's not to affront her voice in any way -- its wispiness and innocence is just better suited to jazz. Soul music requires a voice that can get dirty, that embraces the crackly, back-of-the-throat belting made famous by singers like Aretha Franklin. Background vocalist Washington should be promoted to lead duties: she's got the grit.
The band closed with a cover of Joni Mitchell’s "Help Me". But these guys don't need help; they're great.
