Sparkling, Consistent & Potent Jonatha Brooke Collection — Features Eric Bazilian

My first introduction to Massachusetts’ Jonatha Brooke was when she released two albums as a duo called The Story with her partner in crime and also a fine solo artist Jennifer Kimball (“Veering from the Wave”). The Story, I will admit, were two albums I picked out of a $1.99 bin at Boston’s Nuggets many years ago. But, “Grace and Gravity,” led to my buying “Angel in the House,” and those purchases led to my buying Ms. Kimball’s solo album and a Jonatha Brooke solo album. So, sometimes, without the help of FM radio, college radio, or in-store play, some artists or under the radar performers can and do find an audience through the bargain bin.

All these years later it’s nice to hear that Jonatha Brooke has not lost any of her charm, accessibility, and potency. Her songwriting has always been excellent but her maturity has shaped this collection into quite an absorbing album. Usually, when I preview an artist’s album for review I need to net a minimum of five songs that would be worth talking about.  It wasn’t surprising when about eight stood out and were highlighted from “Midnight. Hallelujah.”  This is a new 11-track album by Ms. Brooke. The other songs were tagged positively, but they are standard high-quality Jonatha Brooke songs. So, what I am focused on here are the tunes that have shown development from the past – to my ears anyway.

“Put the gun down, come talk to me….” is the opening, jarring in your face lyric. This is not pop music but a shot glass filled with potent images. “Put the Gun Down,” is an ideal opener because it has that surprising strength and shock that is what rock and roll used to do.

Jonatha sings about subject’s other singer-songwriters either ignore, don’t seem to consider. Instead, Ms. Brooke takes the plunge and writes about different subjects with stability in her well-crafted songs. Here, Ms. Brooke doesn’t waste any time grabbing your attention. Ms. Brooke’s voice is strong, confident, and instead of being distilled by production it is somewhat incendiary in a slow burn performance manner.

“Hashtag Lullaby,” displays Ms. Brooke’s soprano as it flows melodically through its notes. A beautiful rendering. This is an upbeat song with the old theme of “everybody is somebody’s baby…every baby got some kind of destiny…” but, the way Ms. Brooke sings it is so sparkling. One of the best melodies on the collection. 

Each song on this LP features many distinctive and broader instruments than previous Jonatha Brooke albums. Each song shines in its own way with different sounds — a pleasurable listen.

Throughout the album: Ms. Brooke plays acoustic guitar and mandolin, Phil Naish tickles the keys on the piano, Wurlitzer, Rhodes, B-3. Drum tasks are by Nick D’Virgilio and the electric guitars, ukulele, and additional acoustic guitars are plucked by Don Carr. Rory Hoffman provides banjo, Cuattro, harmonica, and clarinet. Dave Martin is the basic bass guitar throughout the album though there are guests who perform on bass. James Genus plays bass on “Put the Gun Down.”

There’s cello with Mariel Roberts, a little violin by Pauline Kim Harris and viola by Hannah Levinson. There are guest musicians throughout – but more about that as we go forward.

Jonatha has approached the level of vocalizing excellence that I admired as well with Grammy-nominated Cindy Bullens (“Somewhere Between Heaven and Earth,” “Neverland”). Bullens’ vocals on those two albums were stunning and the songwriting intense. Ms. Bullens was once a backup singer with Elton John and had a rock career before going more acoustic as a singer-songwriter. She performs today often as part of the wonderful trio with Wendy Waldman and Deborah Holland as The Refugees. Those two Bullens’ solo albums were motivated by the loss of Ms. Bullens’ 11-year old daughter to cancer. They are quite a collection of songs and not without the all-star cast of musicians playing with her including Bonnie Raitt, Lucinda Williams, Rodney Crowell, Beth Nielsen Chapman and Rodney Crowell. These are the musicians that Jonatha will appeal to as well — I am certain.

Jonatha plays piano on “Light Years,” and on this new collection — particularly on “Light Years,” and the Woody Guthrie-penned “You and I,” – these tunes are cut from the same cloth as Ms. Bullens – as performance pieces. Guthrie’s “You and I,” has charming instrumentation and everything is just so tight, melodic and with the kind of vocals Ms. Brooke uses to paint her lyrical pictures — articulated wonderfully. A nice accordion breezes through the song and it’s quite a hook-filled deliciously performed song. It stayed with me long after the album finished. And that’s a true test of a great song. For me, anyway. 

Track 5 is a slow rocker with grinding gears. “Mean Looking Jesus,” exemplifies Ms. Brooke’s ability to change lanes in her repertoire and get a little more under the skin. Eric Bazilian – a musician formerly of The Hooters (a backup group also for Cyndi Lauper in her heyday), who also wrote and performed with Joan Osborne, played on the excellent album “Largo,” (that featured Garth Hudson of The Band, Taj Mahal, and many other great musicians). The list of artists Eric has written and played with is endless and they are all impressive.

On this album, Eric plays 6-string banjo, electric guitar, and bass on “Mean Looking Jesus.” Obviously, if you know Eric’s work this is where the edge comes from on this song and Jonatha delivered it.  This is one of the big highlights of this album.

Slipping back into her more acoustic comfort zone, Ms. Brooke sings the infectious “I’ve Got Nothing,” and this sounds like the song to cover if you’re a recording artist who doesn’t write. This has great commercial potential in the tradition of Joan Osborne’s classic “One of Us,” all those years ago that Mr. Bazilian was also involved with. Mr. Bazilian plays bass on this track.

Most songs were written by Ms. Brooke except for: “I’ve Got Nothing,” & “Mean Looking Jesus,” — co-written with Eric Bazilian. “Alice,” & “Midnight Hallelujah,” were co-written with Mark Batson. “Really, Really Love” was written with Juan Patino. “Put the Gun Down,” was co-written with Mike Reid.

As for the title track “Midnight Hallelujah,” — this has a wall-of-sound production. Jonatha uses her voice like the instrument. She comes right up to the border of showboating but doesn‘t cross it because it’s not necessary. She is a professional in control of how her voice works best for her and she allows it to flex its muscle without popping veins. Alanis Morrissette usually treads that line as well but she too knows when she’s musically bloviating. These ladies are confident and stable – they don’t need to show off. In the more gentle and quiet tune “Too Much Happiness,” Ms. Brooke continues to apply just enough strength without breaking that barrier of a diva with too much vocal gun powder. We’re not out for big game here – we are out to enjoy the art of her voice, music, and songwriting.

While the vocal tone is born of that era where Alanis, Joan Osborne, Jewel and Natalie Imbruglia were dominant I hear the richness of the brilliant singer-songwriter Kris McKay (the David Halley song “If Ever You Need Me”). And that’s the key. The influences that Jonatha may have had that we are not aware of. I’m not saying Kris was one, but Jonatha and Kris share the same quality — are almost one of a kind. Kindred spirits.

So on to one of the strongest, loveliest melodies on the album: “Nothing Hurts Like Love Hurts.” The song starts with a standard style but the vocal is so sincere it grabs your attention and swiftly could become a classic. The song has so much personality. Then, as Ms. Brooke sings through with a heart-wrenching vocal that is held together by a thread – you’re not expecting any surprises until a warm nice deep clarinet bellows with optimistic notes and the song suddenly fills with more value added. What an enchanting trip. Typical of what maybe a European arranger would insert. In the background is an old-world accordion and when the clarinet and the accordion play — the song takes on a strong nostalgic temper. This is beautiful stuff. Something you would hear at an outdoor Parisian café late at night as the fountains spray their water, the remaining gas lights flicker and lovers take different paths home.

This song is a highlight on the album, a nice mini-romantic movie of a song – for some with a bitter taste of longing or flavorful reminiscence of what could have been. It will affect every listener a little differently. But isn’t that what music is all about? I’m playing it for the sixth time now…

The closing song had a tough act to follow but Jonatha knows what’s she doing. Filled with energy, dynamic performances this finale is super upbeat almost vaudeville – music hall in nature. “Really Really Love,” – a rollicking little tune with whistling? Yes, and courtesy of Rory Hoffman. Joe Sample plays the Wurlitzer and thigh slap loop. What a great adieu. The backup female singers and the clarinet toward the conclusion here remind me of…of… The Beatles. Yeah…oh yeah…it’s that good…and delightful.

I’m not going to even suggest Jonatha Brooke is a good artist, she has been a compelling artist for many years now. She just keeps confirming it with each release. Her work is well-polished, but now it sparkles.

The cover art (front and back) is an intense color shot of a messy living room with an ugly armchair. No, it’s not a party the night before but a really bad flood. Since the photographer (Robert Polidori) is from New Orleans I have to assume it’s the work of Hurricane Katrina.

Nevertheless, it makes you wonder what kind of music would be contained on this long player. The album was designed by Erick Anderson and the package includes a nice informative 8-page stitched booklet. No lyrics though…. maybe next time.

The overall 37-minute album was Produced by Jonatha Brooke, Mark Hornsby & Phil Naish except for “Mean Looking Jesus,” produced by Jonatha & Eric Bazilian. “I’ve Got Nothing,” was produced by Jonatha with Eric Bazilian, Mark Hornsby & Phil Naish.

The album was recorded at Sweetwater in Fort Worth, Indiana.

Website: http://jonathabrooke.com/

Facebook: https://www.facebook.com/jonathabrooke

Soundcloud: https://soundcloud.com/jonatha-brooke/sets/midnight-hallelujah

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / July 2017