Spencertown, N.Y. — The Ben Rosenblum Trio opened the show with one of its trademark displays of rhythmic wizardry, “Island Stomp,” at Spencertown Academy on Saturday, December 7. Whenever jazz musicians the caliber of pianist Ben Rosenblum, bassist Marty Jaffe, and drummer Ben Zweig set up a groove and go at it, wild and exhilarating musical adventures follow. Their precision is breathtaking, their command of jazz traditions comprehensive. It is hard to imagine a band more perfectly suited to accompany Laura Anglade.
Ms. Anglade previously appeared at Spencertown Academy a little over a year ago, and no one has gotten over their amazement at the way this young woman controls her voice, shows impeccable taste, and keeps up with the band’s most challenging rhythm patterns. What is most remarkable about Laura’s singing, though, is the consistency of tone throughout her range. High notes that other singers would belt out Anglade caresses, and the most amazing thing is how she reaches those notes—how she moves from register to register with nary a break. Only another singer can understand how difficult this is.
Anglade’s strong familiarity with jazz voices of the past is clearly evident in all her vocal performances, but not so clear that you can name them. Owing to her French heritage, Laura’s treatment of chanson feels naturally authentic, making her performances vivid and emotionally compelling. In this respect, she might remind you of Cécile McLorin Salvant.
Anglade opened her set with “White Christmas,” one of several holiday classics in her repertoire that make you want to hear an entire album’s worth. But it is her treatment of jazz standards that dazzles audiences from Austin, Texas, to New York City. The band’s arrangements are always unconventional and often daring. Add Laura’s distinctive vocal delivery and you have music that seizes an audience’s attention and never lets go.
Her performances of “Lonely Town,” “My Old Flame,” and “What’s New?” were especially poignant, but Anglade never indulges in sentimentality, because she doesn’t need to. When she sings in the way most natural to her, that is all it takes to transform a familiar song into something wholly new.
The startling freshness of Anglade’s arrangements is due in large part to the talent of Ben Rosenblum (piano, accordion), Marty Jaffe (bass), and Ben Zweig (drums). When a vocalist develops an arrangement with such a group of musicians, the process is inherently collaborative. That means Anglade’s talent extends far beyond singing jazz. She knows how to incorporate the best ideas from each player into an arrangement that serves both the song and the singer.
And finally, something must be said about Ben Rosenblum’s accordion playing. “When he solos,” wrote “All About Jazz” writer Jack Bowers, “it’s enough to awaken thoughts that the accordion’s status as a jazz instrument may have been undervalued.”
Writing for the same publication, C. Michael Bailey said, “There do emerge conservatoire aces with grit in their imaginations and a facility to express such in their playing. Ben Rosenblum is one such performer/composer.”
