Paloma Dineli Chesky’s third album, Memory, evokes one of my favorite kinds of midcentury record genres, what I’ll unofficially call “the sad girl on a rainy night.” It features one beautiful, sustained feeling of regret and love lost; with a nod to modal jazz; and an invitation to spend some quality time with the singer, like a best friend, to talk through your sorrows together by moonlight. Chesky knows what her sound is, even at this early stage of her career. With the collaborations of Music Director Michael Hilgendorf, and her father, Grammy-recognized Producer David Chesky, this album features material and arrangements that show her artistry in a moving and clear way.
And the sound is what people are excited about: her voice is nuanced and smooth with a very satisfying natural rasp which is captured here with texture, atmospheric quality, and David Chesky’s three-dimensional recording. (I recommend your best headphones for the full experience.) Her elegant phrasing shows a skill that goes beyond the natural gift of her voice and speaks to a developed breathing technique and musicality.
Opening with “Summertime” (George Gershwin, DuBose Heyward), one of the most covered standards of all time, invites us to ask if Chesky is being positioned as a new classic. It’s a little risky to begin with such a chestnut, but we do get to meet her in a groovy, slower tempo—perhaps inspired by United Future Organization’s take on Sarah Vaughan’s “Summertime” in Verve’s Remixed series of the early 2000s. As an album opener, it’s a well-crafted combination of vintage and contemporary sensibilities, introduced in familiar material.
All but three of the tracks are originals written by Paloma Dineli Chesky, and this works well at establishing her identity as a musician and contributor to the industry—even though her songwriting is not yet quite as interesting as her singing. “Green” is a portrait of sadness that points back to the blues. She sings the song in E minor, with her lowest note on the word “blue” on E3, which sounds like the very bottom end of her range and barely audible, especially as the sax often comes in as she hits the note. It’s just a little too low to seem intentional, and I wonder how it would sound a half step higher. “Sober Now” is more driving and overtly passionate than many of the offerings, with an opening that evokes Amy Winehouse, and a solidly bebop instrumental. “When The Moon’s Away” is a strong choice as the last selection, blending hope and disappointment in a mysterious and chromatic melody.
A skillful band supports her throughout—MD Michael Hilgendorf, guitar; Maxwell Barnes, tenor sax; Chris Ramirez, bass; and Danno Peterson, drums. The lineup speaks to a 1960s Getz/Gilberto Brazilian-flavored jazz, and they expertly flow with the blues and contemporary pop influences as well. Speaking of her Brazilian roots, Chesky’s rendition of “Corcovado” (Antônio Carlos Jobim) is an absolute standout. Effortless rhythm, articulate handling of the Portuguese lyrics, floating through her upper range; it’s a gorgeous homage to the many wonderful versions and also very much her own.
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Produced and mixed in 3D sound by David Chesky, recorded by Cole Flowers, mastered by Nicholas Prout, and released by Chesky’s The Audiophile Society, Inc.
Penelope Thomas is a performer, writer, and communications consultant. Credits include lead vocals for two albums with prog rock band FauveMuseum; background vocals with Shellen Lubin, and US & UK tours of Mikel Rouse’s 'The End of Cinematics.' She’s read poet Anne Carson’s work at The Whitney Museum and played leads in HBO Women in Comedy Festival-selected film Pretty Dead and the upcoming indie film, "The Interview." She studied voice with Norma Garbo, music theory with bassist Mark Wade, LoVetri Somatic Voicework through Baldwin Wallace University, and acting with Deena Levy. She taught in the New School’s Sweat musical theatre intensive. With a degree in Cultural Studies & Anthropology and a background in contemporary dance, Penelope loves thinking and writing about performance—connecting the dots between styles and genres and supporting the connection between artists and audiences.
