A relatively new voice on the Los Angeles jazz scene, Nicole McCabe is establishing herself as a saxophonist while balancing a respect for jazz tradition and a knack for working in the world of electronics.
McCabe is no stranger to the use of synthesized sounds in her music. She's recorded often in recent years in the duo Dolphin Hyperspace with her beat-making bassist partner Logan Kane.
Differing from that group’s emphasis on danceable beats, McCabe’s new release A Song to Sing puts her horns up front while still squarely centered in the digital realm.
The album’s collaborators include Kane on bass, Paul Cornish at the piano and Justin Brown drumming. However, most of the 11 tracks on A Song to Sing are simply McCabe’s saxophones and flutes supported by synthesizers and drum machines.
In fact, it can be fun to identify which instruments are played and which are simulated. Brown’s drums lend a noticeable excitement, and the analog, human energy in the bass and piano contributions meld seamlessly into the album’s overall atmosphere.
Along with modern production, McCabe pushes the envelope with her playing as well. At times, the album can be a challenging listen for ears not accustomed to digital merrymaking.
That said, McCabe’s music is unfailingly welcoming, and her music is concise and easy to digest. Only one of her new recordings approaches the five-minute mark, and most are closer to the pop standard of three minutes. Each composition makes a musical point and leaves the listener excited for what's next, if they can keep themselves from pressing “repeat.”
“Running Backwards” opens the album with light drumming and subtle digital glitches and pops that introduce McCabe’s saxophone melody. Those sounds are soon joined by layered saxophone harmony lines that pulse and push the main theme.
The brief “San Benito” centers around a beautiful melody on saxophones, flute and melodica that weave in and out as if McCabe were assembling a puzzle.
More electronics-filled songs find a deeper connection between the acoustic and digital sounds — both optimistic and darkly mysterious. “Balloon Race” carries a pleasant, layered melody, while “Prism Prison” reveals a calm center sandwiched between boisterous bookends.
Some moments on the album feel as if the electronic layers of support may crumble, but the song structures are sound, and unconventional surprises are resolved with calm satisfaction.
A Song to Sing might be tricky to vocalize or hum along in places, but it will definitely have you singing the praises of this fantastic jazz talent. McCabe also provides hope for a future where humans and machines can work together as friends.
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