by Brian Arsenault
Secular and Sacred or
Sacred and Sublime
Halie Loren: Butterfly Blue (Justin Time Records)
Halie Loren glides in flight on her new album Butterfly Blue from newly composed musical poetry to the songbook of American music on the wings of a deepening and darkening musical sense, an extraordinary accompanying group of musicians and a voice to wring out all the passion, pain and promise of living. We are captives of the cages of our lives but the spirit still soars.
“Blue” by sterling guitarist Daniel Gallo, “blue like the deep sea . . . blue like a moonbeam.” Delicate without sentimentality, painful but not maudlin. Gallo’s guitar masterfully weaves under Loren’s voice.
“Butterfly” by Loren herself, wherein I think Otis Redding held her hand. I thought he might harmonize on the chorus and perhaps he does somewhere else.
“After the Fall” again by Gallo. Paper Moons hang, funny Valentines bring a tear. Songs of life remembered, a soundtrack of a life.
Charles Trenet’s “I Wish You Love”, sung mostly in French and the more romantic for that. Loren’s voice haunts, evokes all the lyrical romance of the tune. Matt Treder’s piano and David Larsen’s clarinet so perfect in creating the cafe sensibility in play. Mark Schneider’s bass simply perfect.
“Stormy Weather” touches the very center of that blues piece, slowed down achingly beyond any version you’ve heard before.
Billie Holiday would approve. Ellington could have arranged.
And a bit later, back to back to back, my favorite moments on the album.
A playful yet deeply felt “Our Love Is Here to Stay” with Irving Berlin’s wonderful, hopeful lyrics. Again Larsen, this time on baritone sax, would be worth the trip just on his own. And Halie’s phrasing, I think she knew Berlin in an earlier life.
She has also somehow magically visited Cole Porter. “Under My Skin” is launched by a fine instrumental intro with Treder and Schneider leading the way before Loren’s breathy vocal comes in with just a touch of Peggy Lee. All that Porter longing, the pain/pleasure of being caught with no release and maybe none wanted.
On the Loren penned “Danger in Loving You,” heard in a performance version on an earlier recording, she writes to the level of Gershwin and Porter. There’s no release here either. There is of course danger to the heart.
Halie Loren is generally termed a jazz singer and that’s true if you acknowledge that blues underlies jazz, which of course it does. Then there is soul, she has that too. Ask me to walk into a club and conjure up my singer of choice and it would be Halie Loren.
To bend a lyric in “Blue” just a bit, I love her like Sunday.
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The Monks of Norcia Benedicta: Marian chant from Norcia (De Montfort Music)
I’ve never been interested in meditation. That’s why I didn’t care that much for “Peace,” the last cut on Halie’s album. I’m generally annoyed with all that find your center, peace out stuff. I’m entitled to my tension and my anger. Wars aren’t won and great art isn’t created by navel gazing.
Yet if I was going to meditate it would be to the immortal Gregorian chants of these monks in Umbria (Italy). In fact, while I had it on I began to feel more peaceful, more in tune, as they say. That annoyed me so much that I almost turned it off, but the beauty of the prayerfulness held me. Many I know who still attend Mass say that changing from Latin to English diminished its spiritual power. I can now say I think they are right.
I’m made to understand that the monks are killing (forgive the word) on the classical charts, even outselling some pop stars, and I can see why. Benedicta, largely in tribute to Mary (I don’t need to say which Mary do I), seems to echo down the ages from a time of believing, we’re talking 10th century here. Perhaps that is part of the attraction in this age of unbelieving, at least in the modern West.
Wherever you fall on or off the spiritual scale, beauty so rich and full is not to be discounted. Ever. The Monks of Norcia are also renowned for their craft brews, a spirit also not to be discounted.