Half a year ago I would have bet on Zoh Amba becoming the next superstar of jazz. No ifs, ands or buts about it. The saxophonist from Tennessee is just 22 years old and since moving to New York in 2021, she has already played with everyone of distinction (e.g. John Zorn, Vijay Iyer or William Parker, to name just a few). Her mentor is no other than David Murray. Her last albums, O Life, O Light Vol 1 and Bhakti, were simply stunning, the latter in particular an early opus magnum that captures the full range of Amba’s expressive spectrum, from fervent outbursts to wistful blues.
But there were critical voices as well. First, Downbeat claimed that she was a promising artist, but that the outstanding reviews that saw her in a lineage of Coltrane and Ayler came far too early, and an editorial in the German magazine Jazzpodium said that her success was just the result of clever marketing. One wondered where the furor in that latter article came from. In spite of this, people could hardly wait for O Life, O Light Vol. 2.
To cut a long story short, O Life, O Light Vol. 2 can leave one somewhat ambivalent, as on the whole it is less consistent than the two previously mentioned recordings. As on the first part of the project, Amba is supported by William Parker (bass, gralla) and Francisco Mela (drums). Of course, the two are a rock solid rhythm section in front of which it should be easy for Amba to take off and ascend to musical heights. But unlike Vol. 1, she doesn’t really succeed here. Especially in the second piece, “Three Flowers“, where she first plays flute in the first part, her tone and timing seem uncertain, her lines strangely uninspired. Only after an intermission, in which Parker and Mela take over and after which she switches to saxophone, does she seem to be more confident. But even though she shows what a great talent she is in this second part, the interplay with Parker and Mela does not work as nicely as on Vol. 1. Fortunately, the better piece on the album is the first one, “Dance of Bliss“. Here the three harmonize quite well after a brief period of acclimation. They are at their best when Parker reaches for the gralla and when he duels splendidly with Amba.
So it remains to be seen what happens next. Perhaps a more restrained release policy and more time to develop her sound is in order but there is no question that she is a bright new talent and one can still expect from her.
O Life, O Light Vol. 2 is available on vinyl, as a CD and a download.
You can listen to the album and buy it here:
10 comments:
Zoh is amazing / I’ve seen her 4 times since May and I’m going tonight & tomorrow at The New School
I'm not sure why this perceived change would be, as vol.1 and 2 appear to be from the same recording session according to the info found on Bandcamp.
I'm not sure why this perceived change would be, as vol.1 and 2 appear to be from the same recording session according to the info found on Bandcamp.
Last night with Patrick Shiroishi, Wendy Eisenberg & Chris Corsano was one of the best sets I’ve seen the past 9-10 months out of at least 60-70 sets I’ve seen. From 5 feet away she is so incredibly powerful and charismatic. Previous 2 nights just as strong but not in the “free jazz” mode. Avant rock on Wednesday with Steve Gunn, Shahzad Ismaily & Jim White. Thursday oblique 1 hour set
It's curious because I think, in a way, critics put too much on Zoh Amba when she first started playing and releasing albums. I stand by my initial review, she's more David Murray than Albert Ayler, and I am extremely interested in seeing where she goes, as her voice and style evolve. A lot of players are inviting Amba in, and that can only be a good thing for everybody. Great voice with lots to say.
I thought this album was a fine continuation of Volume 1, with everything that I enjoyed from that record expanded here.
The best example of where Amba is now (from a recorded perspective) might be the new trio album with Orcutt and Corsano, which I'm listening to now and really enjoying.
Part of the problem Martin is that nothing has changed in the past half year, this music is from the same “stunning” session you loved but now she’s uninspired? What is a superstar of jazz, something created in the minds of writers? Has she played with everyone of distinction?!? Maybe mention someone under 50? The writers in general have really failed Zoh and I hope she never took any of it seriously, the hyperbole or now the lukewarm. She’s an ambitious kid who is still developing. I’m rooting for her.
Part of the problem Martin is that nothing has changed in the past half year, this music is from the same “stunning” session you loved but now she’s uninspired? What is a superstar of jazz, something created in the minds of writers? Has she played with everyone of distinction?!? Maybe mention someone under 50? The writers in general have really failed Zoh and I hope she never took any of it seriously, the hyperbole or now the lukewarm. She’s an ambitious kid who is still developing. I’m rooting for her.
Every now and then I need a free jazz superstar, and every now and then the superstar can be less shiny, and yet I keep on staring at her light...
I just wanted to agree with Lee that her new album, with Bill Orcutt and Chris Corsano, called The Flower School, is really, really good.
I saw her recently in Toronto with Chris Corsano. I sat about 6 feet from where she was standing and was absolutely blown away by her ferocity and energy, but not just hard blowing, some very innovative phrases as well. It was exciting to see/hear and I certainly felt that I was watching the next great thing. I am looking forward to the next time she ventures up here to play for us again.
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