On ne connaît jamais entièrement la personne décédée que l’on pleure, fût-elle proche. Ce thème de réflexion pourrait bien être celui que s’est assigné Caroline Davis à l’égard de feue sa grand-mère, la poétesse Joan Anson-Weber. C’est la personne de cette dernière qui est au centre de cet album, à travers quelques-uns de ses poèmes, quelques-unes de ses phrases enregistrées à la sauvette, l’écho lointain de sa voix. Il y a quatre ans, Caroline Davis réalisait son premier volume de « Portals » intitulé « Mourning ». Ce deuxième volet s’inscrit dans la continuation du premier, tant dans la thématique abordée (il s’agissait alors de conjurer le décès soudain de son père) que dans l’expression musicale déployée. La saxophoniste américaine s’entoure ici des mêmes musiciens : le pianiste Julian Shore, le bassiste Chris Tordini et le batteur Allan Mednard. La violoncelliste Mariel Roberts a laissé sa place au trompettiste Marquis Hill. Pour l’essentiel, les compositions revêtent une dimension à la fois harmonique et lyrique, et ce d’autant que la moitié sont chantées (avec l’apport des chanteuses Jen Shyu, Julia Easterlin et Alexa Barchini) ou narrées (l’excellent spoken word de Nappy Nina). On y trouve également en invités la flûtiste Nicole Mitchell et l’organiste Michael King. Des morceaux à la fois introspectifs et chamarrés, mais toujours galvanisés par un optimisme porté haut et fort que renforcent les beaux phrasés de Caroline Davis.

https://jazzmania.be/caroline-davis-portals-vol-2-returning/

>>Portals Volume 1« mit dem Untertitel »Mourning«, Caroline Davis' Album aus dem Jahr 2021, war ein Requiem: Sie versuchte damals mit ihrem Quartett und einem Streicher-Ensemble die Trauer über den Tod ihres Vaters in eine den Kummer transzendierende Komposition zu übersetzen. Oder vielleicht auch, durch die Musik mit dem Verlorenen in Kontakt zu bleiben, das Portal, die Schwelle zu einer anderen Form der Kommunikation und Erinnerung zu überschreiten. Mit »Returning« setzt sie nun ihr »Portals<<-Projekt, eine Art Gedenk-Zyklus, fort. Im Mittelpunkt steht diesmal ihre 2010 gestorbene Großmutter Joan »Lady« Anson-Weber, eine Lyrikerin, die großen Einfluss auf die künstlerische Entwicklung der Altsaxofonistin Davis hatte. Einige von Anson-Webers Gedichten werden auf dem Album von Jen Shyu, Julia Easterlin, Nappy Nina und Alexa Barchini interpretiert - in Spoken Word-Darbietungen oder klassischen, Soul-inspirierten Songs (auch Davis hat Lyrics beigesteuert). Marquis Hill an der Trompete, Julian Shore am Piano, Chris Tordini am Bass und Allan Mednard am Schlagzeug bilden das starke Rückgrat dieses fein zwischen freien Improvisationen und notierten Stücken floatenden Albums; Nicole Mitchells Flöte verleiht ihm etwas Schwebendes, und es scheint so, als würde in diesem multiperspektivischen, zwischen Genres os-zillierenden, der Stimme Raum gebenden musikalischen Entwurf tatsächlich die Komplexität einer Persönlichkeit entstehen. Es zeigt sich darin eine Wehmut der Unwiederbringlichkeit wie auch eine Dankbarkeit für das, was sich aus der Vergangenheit in die Gegenwart fortspinnen lässt. Der Geist der Musik sei so großzügig und verletzlich, schreibt die Gitarristin Wendy Eisenberg in ihren Liner Notes, dass die Besonderheiten des

"Life is funny when it doesn't work" so begin-nen Caroline Davis' eigene Lyrics. Mit ihrem Intakt-Debüt beweist die herausragende, 1981 als Tochter schwedisch-britischer Eltern in Singapur geborene "Saxophonistin und visionäre Instrumentalistin, Komponistin und Aktivistin" (Label), wie spannend es sein kann, sich selbst richtig z u fordern. War Vol. 1 (2021) ihrem verstorbenen Vater gewidmet, spielt Carolines Musik hier mit Worten einer "Dichterin von warmer, strahlender Grosszügigkeit" (Liner Notes): ihrer Grossmutter Joan Anson-Weber (1927-2010). Dabei versteht die Saxophonistin "Portals" als etwas sich ständig Veränderndes, Wachsendes, die Beschäftigung mit ihrer Oma und die eigene Wahrnehmung als zutiefst emotionalen Prozess. Die persönliche Dringlichkeit führt die 43-Jährige zu zwölf überaus anregenden Kompositionen, Musik, die uns zusammen mit ihrem Quintett, fünf Gaststimmen, Rezitationen feiner Poems ihrer Grandma einen Türspalt öffnet und uns an diesem schöpferischen, volatilen Vorgang musikalisch teilhaben lässt. Dabei wirkt die Musik keineswegs bleiern, sondern im Fluss eindringlicher Botschaften fast spielerisch. Das liegt am wunderbaren Sound ihres Horns und am Interplay dieser kreativen Band.

There are few things more personal than family and mortality, yet few experiences more universal than grief, remembrance, and love. Portals, Vol. 2: Returning, saxophonist Caroline Davis tribute to her English grandmother, the poet Joan Anson-Weber, plays off both, using poems, family recordings, and her own compositional ingenuity to create something that's as much an evocation as it is a memorial. Augmenting her working band with over half a dozen studio guests, Davis takes a broad range of compositional approaches, sometimes featuring the band, sometimes reducing them to background ambiance. Words are sung, rapped, declaimed and overheard. Some songs are tuneful and pop-adjacent, others. abstract and atmospheric.

Fuoco vivo, con il jazz di Caroline Davis, compositrice e contraltista. Il primo volume di Portals aveva rappresentato in pratica un'elaborazione del lutto per la scomparsa del padre. Il secondo aggiunge al suo quartetto voci (anche rap) e strumenti suonati da donne: Jen Shyu, Julias Esterlin, Nappy Nina, Nicole Mitchell. Il tutto in onore di sua madre, la poetessa Joan-Anson Weber. Un affresco palpitante e aperto, parole e musica, come in certi lavori di Mingus, e un bel ponte sonoro affilato tra Tim Berne, Steve e Ornette Coleman, la Chicago della ricerca.

Caroline Davis straddles the lines of modern jazz, art-pop and experimentalism with deep-thinking aplomb. As bandleader of Alula, the composer and alto saxophonist makes fiery protest music, and conversely, with guitarist and songwriter Wendy Eisenberg, the duo explore ethereal experimental pop. With expressionistic and blissful melodicism, Davis has shined in every setting. And she's bared her emotions before: on Heart Tonic (2018) she contemplated health issues her father was experiencing, plus her own personal challenges.

Davis' Portals series is another venture wherein she invites the listener to survey her thoughts and feelings. While Portals, Vol. 1: Mourning (2021) probed her stages of grief when her father passed away and the traumatic aftermath, Portals, Vol. 2: Returning continues the theme of loss, as Davis ponders the death of her grandmother, Joan "Lady" Anson-Weber, who was a creatively inspirational force. Delving into the ruminative and spirited compositions she wrote in homage to the British poet (and childrens book author), who passed away in 2010, the artistic and personal influence is palpable. Rather than an elegy, though, the homage is uplifting on both spiritual and emotional levels. The personnel for both Portals volumes features Davis piloting a superb core group made up of Marquis Hill (trumpet), Julian Shore (piano), Chris Tordini (bass) and Allan Mednard (drums). As on the first volume, special guests also appear. This time: Jen Shyu, Julia Easterlin and Alexa Barchini (vocals); Nicole Mitchell (flute); rapper Nappy Nina, and others, play vital roles.

The set kicks off on a propulsively jazzy punch, showcasing the dazzling elasticity that Davis and company pack. Album opener "Gate of the Year" is a jaunty, hard-bopping number that features the leader and trumpeter Hill's euphoric, dancing lines before Shore takes a glorious piano turn. "Coming 'Round'" introduces a unique layer: the sound of Anson-Weber's voice. Here the recording tugs at the heart strings, like looking at a family photo album. "Back Again" and “Darien" (highlighted by Anson-Weber's voice again) are interludes that capture a dreamy experience. The upbeat "Olympian Air" has Shyu reciting Anson-Weber's poetry; "Kites", with Easterlin singing lyrics penned by Davis, is exquisite traditional-style vocal jazz; "Only the Names are Changed, Part 2" and "City Flora" meld hip-hop and jazz as the vibrant rap stylings of Nappy Nina (also with lyrics by Davis) kick the vibe up a notch.

Portals, Vol. 2: Returning is a gripping snapshot on deeply personal and adventurous musical levels.

Caroline Davis: Portals Vol 2

Composer and alto saxist Caroline Davis brings in the team of Marquis Hill/tp, Julian Shore/p, Chris Tordini/b and Allan Mednard/dr along with some guests on a thoughtful and sensitive release. There’s a loose Milestoney feel to the grooving “Gate of The Y ear” with things getting frisky on “Coming “round” and “Back Again”. Vocalist Jen Shyu is featured on the post bopping “Olympian Air” as well as the kinetic “ Everlasting Fire” with vocalist Alexa Barchini and Ben Hoffman on the synths”. Things get edgy with Shyu with Nicole Mitchell on flue for the squawkish “Cover Up” while Nappy Nina brings spoken word poetry to a few pieces such as the lovely “City Folora”. Art for music’s sake.

https://jazzweekly.com/2024/12/caroline-davis-portals-vol-2/

Il primo volume del 2021 di "Portal", sottotitolato "Mourning", era figlio dell'improvvisa morte del padre della sassofonista; questo invece nasce dopo la scomparsa della nonna poetessa e vede un quintetto con tromba, pianoforte, contrabbasso e batteria seguire la leader al sax alto in intriganti ed ariose composizioni sorrette da groove energici (Olympian Air, Only The Name Are Changed, Part.2), o ina sarsi pensosi in tracce più rarefatte e riflessive (08 The Name Are Changed, Part.1, l'haiku Oblivion, conclusiva Cover Up, con Nicole Mitchell). Varie femminili contribuiscono a un affresco vivido e isp rato, dipinto con mano ferma, libera, sicura.

Caroline Davis presents the second volume of an interesting, often deeply moving reflection on grief. Invoking and celebrating the spirits of family members who have passed - her father died unexpectedly some years ago Davis has created music that carries a personal and universal resonance, all the intimacy fraught with questioning.

A fine core quintet, in which the leader's warm, redolent tone blends well with Marquis Hill' lustrous trumpet, moves through compositions that have anything from funky M-BASE rhythmic intricacies to abstract soundscapes to swish neo-soul. But it is the excellent use of vocals, sung, rapped and recited, that also provides a compelling additional layer of meaning to the songs.

The contributions of Jen Shyu, Julia Easterlin, Nappy Nina and Alexa Berchini convey a poetic beauty amid intimations of mortality and illuminations of reality. As the plain but deep lyric of 'Kites' tells us, "Life is funny when it doesn't work."

Alto saxophonist/composer Caroline Davis, a rising star in the jazz world, has unveiled her second installment of the "Portals" series, titled Portals Vol. 2: Returning. This album serves as a sonic memoir, inspired by her grandmother, Joan "Lady" Anson-Weber, and it represents a deeply personal journey of reflection and healing. As a gifted saxophonist and composer, Davis draws upon her grandmother's poetic legacy to craft a musical experience that is both moving and evocative.

This album stands as a testament to Davis' exceptional musicianship and ability to create emotionally resonant compositions. She has been making significant waves in progressive jazz circles, and this album features a stellar ensemble of musicians. Among them are Marquis Hill on trumpet, Julian Shore on piano, Chris Tordini on bass, and Allan Mednard on drums. Additionally, acclaimed flutist Nicole Mitchell lends her talents to two tracks, accompanied by guest artists such as vocalists Jen Shyu, Nappy Nina, Julia Easterlin, and Alexa Barchini and others. The interplay between these skilled artists is seamless, weaving a vibrant soundscape.

Davis' compositions are intricate and approachable, fusing elements of modern jazz with classical and world music influences. The melodies are haunting and unforgettable, while the rhythms are energetic and persuasive. One of the most striking aspects of this production is how Davis weaves her grandmother's poetry into the music. Nina's spoken word elements add depth and meaning to the compositions, offering a glimpse into the personal journey that inspired the album. Davis' saxophone performances are both virtuosic and dramatic, capturing the enthusiastic nuances of the music with remarkable sensitivity.

On "Coming Round," the band generates a groove-based theme with funk undertones. "Only the Names are Changed, Part 2" presents a straightforward pulse, where the hornists deliver intricate unison choruses filled with evocative concepts and odd-metered eruptions. In this track, Nina intersperses rap with Anson- Weber's poem of the same title.

"Everlasting Fire" highlights the poignant, up-tempo balladry by Alexa Barchini, along with Shyu's spoken word, supported by sultry horns and emphatic choruses that create an undulating arrangement leading to the vocalist's melodic refrains. In "Cover Up," Shyu's storytelling unfolds atop softly interconnecting horns, intimating a pensive storyline.

In conclusion, Portals Volume 2: Returning is a notable album that highlights Davis' talents as a musician and composer. It is an intimate and thought-provoking work that should resonate with listeners who seek depth in their music. Davis has created a sonic tapestry that is both original and memorable. This album is a testament to her artistry, inviting listeners to embark on a journey that may linger in their hearts and minds for years to come.

https://www.allaboutjazz.com/portals-volume-2-returning-caroline-davis-intakt-records