On her new album Signature, Sylvia Brooks voice is both lighter in weight and darker in color – a paradox, I know. There is more jazz and bluesy feeling early on with a deep searching for the meaning of the words. I’m intrigued by her lyrics. “The Boy That Lived There” is quite moving, and I can only wonder what led her to write “Red Velvet Rope”, about the goings-on behind the doors of those Miami nightclubs. There is a lot of lived-in heartbreak in the lyrics, and the record gets moodier and more subdued down the stretch before Leonard Cohen’s Boogie Street picks up the tempo while maintaining the downbeat mood as the last cut. The sound quality on this record is excellent.
Sylvia has come into her own with this album and her writing brings this project to a new level. I highly recommend it.
Since her captivating debut in 2009, jazz vocalist Sylvia Brooks has displayed a gift for inhabiting different personas, with a subspecialty in film- noir inspired femmes fatale. On this – Signature (Rhombus Records) – her fourth album, she embraces the most challenging role of all, defining herself with a set of beautifully crafted original songs.
Her evocative lyrics and emotionally direct delivery imbue the music with hard-won authenticity. Whether looking back with wry affection on her walk-on-the-wild-side youth or lamenting a lost love, Brooks brings bracing honesty and poise to the material.
Sylvia Brooks shares her life moments and how she started with Jazz music and eventually evolved as a Jazz Vocalist and Songwriter. Sylvia shared her experience working on her 4th Jazz album “Signature” which is coming out on May 30th 2022.
Since her captivating debut in 2009, jazz vocalist Sylvia Brooks has displayed a gift for inhabiting different personas, with a subspecialty in film-noir inspired femmes fatale. On this – Signature (Rhombus Records) – her fourth album, she embraces the most challenging role of all, defining herself with a set of beautifully crafted original songs. Her evocative lyrics and emotionally direct delivery imbue the music with hard-won authenticity. Whether looking back with wry affection on her walk-on-the-wild-side youth or lamenting a lost love, Brooks brings bracing honesty and poise to the material.
Vocalist Sylvia Brooks likes to provide her music a noir patina, that smoky and dark evening tone preferred by the likes of the fictional hard men: Sam Spade, Philip Marlowe, and Jeff Markham. On her third recording, The Arrangement, this patina is given a high buff shine into something more contemporary, without losing any of the inherent sexiness of the music and its delivery. The Arrangement is a delicious double entendre on the word “arrangement,” juxtaposing the darker side of love with a play on “arrangement,” here meaning the musical arrangement of the 14 selections contained herein. Miles Davis had made much of the importance of musical arrangement on his famous 1949 Nonet sides, showcasing the arrangements by Gerry Mulligan, John Lewis, Gil Evans, and John Carisi. Brooks looks back at this music, bringing the art of arrangement forward, her arrangers retaining an emphasis on soft soundscapes and counterpoint.
