June 14, 2002

At the risk of plagiarizing myself, when I reviewed Darius de Haas' show last year at Arci's Place, I said that since I first saw him at Eighty Eights, he had "found his emotional voice and a more visceral core - that of a refined jazz singer with a fascinating, rangy style." Those remarks succinctly describe what has been perfectly captured on his newly releases album. This was on of those outings that was meant to be preserved, recalling classic sounds from the school of contemporary jazz greats like Cleo Laine or Al Jarreau.

Based on his original program first performed at Lincoln Center with a quintet (but orchestrated here for 25 musicians by Bruce Coughlin, who also conducts) de Haas combines sophistication, intense theatricality, and a jazz-fussed swing approach throughout. His resonant baritone merged with a pitch-perfect falsetto make him one of the most important new voices of jazz in the 21st century. I don't exaggerate. De Haas is an artist whose investment is confidant and deep and whose knowledge is broad - all of which are passionately flaunted on this recording. It is particularly evident on a hypnotic medley of "Passion Flower" and "A Flower is a Lovesome Thing."

He weaves that same spell when he rhapsodizes Strayhorn's erudite, familiar, and lesser known songs in perfectly structured arcs,spotlessly blending his voice with the instruments.

Other highlights include a perfectly punctuated "Lush Life," a moody "Something to Live For," and a playfully swinging "Take All My Love" that includes an outstanding solo conversation with saxophonist Roy Nathanson. The musicians are top-notch, led by musical arranger-director Deidre Rodman.

In de Haas, Strayhorn's musical poems find an interpreter of uncompromising integrity who brings imagination and supple style to every lilting phrase.