(Blues\Chicago Blues\Vocal) Nina Van Horn - Hell of a woman! - 2009, FLAC (image+.cue), lossless

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Nina Van Horn / Hell of a Woman !

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Nom fichier L:\music4\Nina Van Horn - Hell of a woman\2\3\Nina Van Horn - Hell of a Woman !.wav

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Started at: среда, 30. 12. 2009. - 22:51.23
1 file found

1 -===- C:\Documents and Settings\user\Мои документы\Downloads\Nina Van Horn - Hell of a Woman_[rutracker.org]\Nina Van Horn - Hell of a Woman !.flac
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Finished at: среда, 30. 12. 2009. - 22:54.39 (operation time: 0:03.15)

In this CD, Nina Van Horn joins the pantheon of contemporary women blues singers who have covered the myriad songs of classic blueswomen of the first half of the 20th century. The entire album, with the exception of the opening cut, “Sisters, Sisters,” represents covers of tunes from such artists as Ma Rainey, Bessie Smith, and Victoria Spivey.

Van Horn was born in France and raised in Texas, and is again firmly ensconced in France, where she has her own radio program and from where she tours. She is to be lauded for her adventurousness in embarking on this tribute to blueswomen, and for her obvious reverence for their music. That said, the album is mistitled: it should be called “Cabaret Dabbles in Blues.”

Let me start by saying that my first reaction to the album was a combination of surprise and indignation. Attempting to rein in my first impression with some circumspection and cogitation, I decided to compare Van Horn’s renditions of many songs with the original versions. Therefore I revisited “Down in the Alley” by Memphis Minnie, “Dirty TB Blues” and “Dope Head Blues” by Victoria Spivey, “This Train” by Rosetta Tharpe, and Ma Rainey’s “Prove It to Me” and “See See Rider.” In each case I tried to account for the undeniable fact that one’s initial hearing of a classic song almost always remains one’s favorite, even after exposure to subsequent intelligent and often inspired cover versions. (Yes, I know, Jimi Hendrix’s version of “All Along the Watchtower” buried Dylan’s original, but that’s the exception.) I tried to give Van Horn the benefit of the doubt.

My conclusion: Van Horn tries to do these songs justice, but fails. Maybe it’s because at heart she seems to be not a blues singer but a chanteuse. Listening to Ma Rainey or Victoria Spivey, one is impressed by the purity of the vocals, the simplicity of the arrangements, and the inherent sincerity of the presentation. In contrast, Van Horn is all mannerism. With her slightly raspy and nasal voice she explores a range of octaves, whispers some phrases, goes falsetto, and even speaks some verses. She is an amalgam of Bette Midler, Marlene Dietrich, and Ethel Merman, performing on stage in a dark nightclub on the Left Bank in Paris, murmuring conversations and tinkling glasses in the background.

The musicians on the album are fine, lending spare but tasteful support on electric and slide guitars, trumpet, harmonica, and piano. However, it’s clearly Van Horn’s album, and its success or failure rides on her voice. Some listeners may love her histrionic interpretations; for me, I find the originals far superior.

Finally, no singer should ever try to cover Billie Holiday’s “Strange Fruit” unless she has deep soul and incredible chops; no imitation can approach it, and that’s true here.