Search - Dawn Clement :: Hush

Subtle, swinging, spectacular

Jan P. Dennis | Monument, CO USA | 01/28/2004

(5 out of 5 stars)

"Dawn Clement, the fast-emerging Seattle-based pianist, isn't going to blow you away with her remarkable debut, Hush. Instead she's going to do something a lot more difficult, which will reveal itself only if you listen very carefully: she's going to entice you, lure you, cajole you into her incredibly rich and beautiful music conception.How?With smart, contemporary-styled, impeccibly-rendered jazz gems. It's amazing to me that someone this young would have such wisdom in showcasing her considerable pianistic talents. Taste, restraint, and sheer musicality--those are her hallmarks. For example, she takes a tremendous chance in presenting a solo version of Ellington's "Star-Crossed Lovers" as the second number of her program. It could only succeed if it were stunningly rendered. And it is.Favorite cuts include "Big Fat Blues," a trio number, featuring an entirely engaging, tricky little piano figure brilliantly unfolded in her mesmeric solo; "Venus," a dreamy ballad on which wind player Hans Teuber makes the first of several appearances, here on soprano sax, that morphs into a remarkably cavorting calliope section; "Coral," the brilliant Astor Piazolla number that has almost become a standard, here lovingly rendered and featuring an elegiac Teuber on clarinet; "Alone Together," a quite radical deconstruction of the Dietz/Schwartz standard, featuring the leader's most out there (but perfectly apposite) pianisms; and "Not Yet," a wistful original waltz-time number in a trio setting. A note about the band. The rhythm section, Jeff Cooke on bass and Jose Martinez on drums, are both Seattle-based musicians, as is Hans Teuber on winds. All make a strong impression, seem totally on board with the leader's relaxed yet highly sophisticated vibe, and display considerable chops. The only misstep, and it's a small one, is on the last cut, Tom Waits's bloozy "Midnight Lullaby," breathily and sincerely (and, it must be said, rather artlessly) sung by Clement with spare accompaniment by bass and flute. One can see the rationale for its inclusion--to top off the proceedings with a neatly sardonic send-off--but it slightly militates against the oh-so-carefully established vibe, and isn't particularly well performed. Nevertheless, I'm not going to dock even a half-star because this is such a stunning debut.An artist to carefully watch."