JEANETTE LINDSTROM — Jeanette Lindström Quintet : I Saw You (review)

JEANETTE LINDSTROM — Jeanette Lindström Quintet : I Saw You album cover Album · 1997 · Vocal Jazz Buy this album from MMA partners
4.5/5 ·
Matti P
The Swedish jazz vocalist and composer JEANETTE LINDSTRÖM (b. 1971) was my own artist suggestion here. This particular album is important in my jazz listening history. I first found it from library in the late 90's, and it became my personal favourite in vocal jazz, the subgenre I continued exploring in subsequent years. Perhaps it was a certain Scandinavian taste that affected on me (I'm Finnish) -- although some critics seem to hear an African-American sound in her voice, comparable to the likes of Dianne Reeves and Abbey Lincoln. But in the music there's a spatial and slightly melancholic feel not very far from e.g. Norwegian contemporary jazz released in the ECM label, another of my trusted companions in the world of jazz.

I Saw You is Lindström's second album, following Another Country (1995) that contained several cover tunes among her own pieces. Here she really shows her strength as a composeer. The arrangements incorporating piano, sax, double bass and drums are suitably spacey, and the tempos rather hurriless, which enhances the sense of thoughtful/introspective personal approach of the singer-songwriter. I believe those jazz listeners who appreciate e.g. JONI MITCHELL and RICKIE LEE JONES can easily enjoy Jeanette Lindström, too.

The title track is a fine opener and a good example of the way the melodic song substance meets the improvisatory jazz playing. On the slow-paced 'Love Comes Quietly' the vocals are even more sparse than the playing full of clarity and intimacy, especially on the piano. 'He Says' is more vivant and features a long saxophone solo. I'm thinking of STING's jazzy debut album. 'Oh, Love' is the most hectic jazz number of the album, one where the African-American comparison becomes easier to understand.

Among my favourites are 'My Hands' and 'Stockholm', the first being so emotional in its slowness and the latter for its gorgeous melodies and, well, deep emotion again. Very delightful is also the relatively playful 'Gracie's Piano & The 25th Key' in which Lindström shows her scat singing abilities. Nevertheless, it's the melodic chorus ("Good bye world, I found another...") that charms me. The final piece 'The Wait' is another lovely, slow-paced tune full of introvert passion.

Also in the light of my fruther listening of Jeanette Lindström, this album is her creative peak. Sadly it seems she never really broke through into a wider international glory.
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