What a voice. What a performer. What an amazing woman.
I have been a fan of Jazzmeia Horn since I watched her perform at the 2018 John Coltrane International Jazz & Blues Festival in High Point, NC. Well, half-perform. Sadly, I was only able to watch her soundcheck before the heavens opened up and we were rained on, eventually cancelling the remainder of the festival. Perhaps, God was just giving us a sign that our ears were not ready to be blessed with the sound of Jazzmeia Horn.
At only 29 years old, Jazzmeia Horn is easily one of the world’s most talented jazz artists. In 2015, she won the Thelonious Monk Institute International Jazz Competition, the most prestigious music competition for discovering the next great jazz musicians. Following her win, she went on to produce her first album titled “A Social Call” in 2017, which features a mix of covers of jazz standards and tracks uplifting her African heritage. Since then, she has toured globally and has released another studio album titled “Love & Liberation.”
I first listened to “A Social Call” immediately following the cancellation of the 2018 John Coltrane International Jazz & Blues Festival. As I walked to my car, I frantically began searching for Jazzmeia Horn on Spotify and was delighted when I saw she had an album. “A Social Call” not only captured my attention, but captured the attention of the Academy as she went on to receive her first Grammy nomination that year for that same album.
As a debut album, “A Social Call” has everything a music lover would want: newly designed covers of beloved standards and testaments to the artist’s own identity. Beginning the album, Horn chooses a striking jazz standard called “Tight,” which was a favorite of Betty Carter, an inspiration of Horn’s. The driving, quick-stepping tune becomes the perfect opening platform for Horn’s warm vocals and, upon listening, creates a familiar jazz club scene between artist and listener that is unforgettable. The remaining jazz standards and reimagined classics, such as “East Of The Sun (And West Of The Moon),” “Up Above My Head,” and “I’m Going Down,” create a similar feeling; however, the most impactful piece, in my opinion, is Horn’s medley of “Afro Blue / Eye See You / Wade in the Water.”
At 13 minutes long, “Afro Blue / Eye See You / Wade in the Water” strikingly captures a piece of Horn’s African heritage. The beginning piece, “Afro Blue” features Horn’s drummer, Jerome Jennings, on traditional African percussion instruments while Horn improvises deep and high-pitched cries over the beat, leading into the chorus. The tune transitions into Horn’s own spoken word piece titled “Eye See You,” which proves to be more haunting given its relevance to the corrupt justice systems and prison complex that plague the United States in the year 2020. Just when you think Jazzmeia Horn is finished, she takes us home with the powerful African American spiritual, “Wade in the Water,” which comes to soothe the wounds inflicted during “Eye See You.” Upon first listen, this song in its entirety gave me goosebumps. 13-minute-long goosebumps. If nothing else, listen to this piece.
“A Social Call” is a phenomenal album, especially as a debut, but I would be doing a disservice to Jazzmeia Horn if I did not uplift her second album, “Love & Liberation,” which earned her a second Grammy nomination this year. “Love & Liberation” begins with my favorite song of her’s, “Free Your Mind.” Those of you who have ridden in the car with me and have given me the AUX cord are groaning at this point because, most likely, I have overplayed this song, but it’s wonderful, so I will not apologize. “Free Your Mind” has everything you could ever want in a jazz tune. Filled with scat singing, soft melodic crooning, and Horn’s impressive vocal range, there is not a single thing to dislike about this song. Some additional pieces that I recommend--though you should listen to the album in its entirety--are “No More” and “Searchin’.”
“No More” has a Blues’ feel, which is arguably why this tune holds a special place in my heart. I am actively obsessed with this piece. From the heavy piano improvisations, to the empowering lyrics and Horn’s out-of-this-world vocal skills, "No More" will leave you speechless and wanting more, despite the misleading title. There isn’t much to say about this tune other than that you should drop everything right now and listen to it. It’s great and does your ears good.
Now, “Searchin’” is for my lovers of scat singing.
**If you’re unaware of what the term, “scat singing,” means, it is the use of wordless vocals and syllables during vocal improvisation. In other words, when the singer goes ‘ski bop diddly bop,’ or some variation of that, during a solo section. You’ll know when you hear it. It’s great. People need to do it more often. More on "scat singing" here.**
In her other pieces, Jazzmeia Horn tends to try to incorporate scat singing, improving ever-so-slightly toward the end of her solos. However, “Searchin’” is almost all scat singing, which rocks! After the explosive first verse, and the introduction of the driving tempo, Horn takes it away, scat singing quickly and eloquently as she leads us into the instrumental solo section. As a jazz musician in a past life (High School Jazz Band--whoop whoop!), I am “jazzed” (pun completely intended) at this large solo section. During this time, Horn’s pianist, bassist, and drummer are able to showcase their incredible playing skills, which have been otherwise hidden by their leader’s outstanding voice. The song ends as quickly as it begins and, with that, leaves you rewinding the track to listen again and again in an effort to experience its magic once more.
A Grammy-nominated artist. A phenomenal vocalist. And A Queen of Jazz.
Listen to Jazzmeia Horn. Feel her power. Love her music.
Peace.
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