Caroline Davis

Portals, Volume 2: Returning

 Intakt

Forward thinking saxophonist and composer Caroline Davis is back with her second installment in her on-going project, Portals, having issued the first one in 2019 upon the death of her father. Yes, the forward moving Davis is looking back again, this time to her late grandmother, Joan “Lady” Anson-Weber, a reputable British poet, from whom Davis takes much of her inspiration as a artist. As you’d expect from the label itself, her quintet is comprised of vital contemporary musicians – Marquis Hill (trumpet), Julian Shore (piano), Chris Tordini (bass) and Allan Mednard (drums).  Joining this top shelf ensemble are renowned flutist Nicole Mitchell, a mentor of sorts throughout the project, and spoken word/vocalists that do justice to Lady’s poetry. They are  Jen Shyu, Nappy Nina, Julia Easterlin, and Alexa Barchini. It is obvously an emotional work that finds itself someone between spiritual, free, and the kind of contemporary jazz that these players purvey.

The quirky, sharply angular “Gate of the Year” opens the album based on the rhythms of a humourous poem Lady wrote for the gate leading into a magnificent garden. It’s a nice touch, given that the mission of the album is mostly devout and reverential. Slightly past the three minute mark, the rhythm section, and expecially Shore and Mednard engage in lively dialogue.  Davis introduces Lady’s voice captured from VHS movies from her home in Darien, Connecticut on the next two tracks, “Coming ‘Round” and “Back Again.” The first is a brief, somewhat scattered piece that builds on the tonality of the opener.  The latter captures a tender moment with Caroline as a baby, encouraged in the water by Lady and her dad. In the studio, the sounds of Lady’s voice were played as prompts to ignite collective improvisation, and in post production, the tracks were overlayed with her voice.

In “Olympian Air,” following some feisty exchanges between Davis and HIll while Shore comps with dense chords. the bass-drum tandem stoke fire in the engine room. We eventually hear guest vocalist, Jen Shyu, who recites the titular poem by Anson-Weber. Shore’s finishing piano exclamation point reflects the the fat gods from the poem. “Kites” begins solftly, featuring vocalist Julia Easterlin, setting a more spiritual tone with contributions from Mike King (synthesizers, organ).  The music is meant to reflect the complex nature of her grandmother who could just as easily embrace love and hate;

Curiously, at least from my access, “Only the Names are Changed, Part 2,” precedes “Only the Names are Changed, Part 1.” So, in Part 2 we hear rhythms of Lady’s rhymes through the jagged, agitated and even strident horn voices,  supported by this skilled  trio. In the latter half of the piece, the prevailing theme underpins Nappy Nina’s verses, inspired by the poem’s message that history repeats itself.  We hear the most extensive passage of Lady’s voice in “Darien,” marking the last time we hear it, rather animated in her invitation to have us join her on the walk to the lake, through the garden, past her cats and trees,  to a scene where two fishermen are poling for catfish. Upon her exit, we hear stark chords from Shore and expressions of grief via Tordini’s bowed bass in “Part 1.”

In the first of two appearances,  Jen Shyu opens “Everlasting Fire” with Middle Stage, a short verse by Lady, befoe Alexa Barchini’s takes the piece into soulful, reflective, and rather theatrical territory, singing Davis’s rather existential, provocative lyrics bases on a set of verses about Lady’s experiences in London during World War II.  The most distinctive groove on the album, emulating a walk through Lady’s oft visted New York City drives “City Flora,” is replete with explorative turns from Davis and Hill.  “Oblivion” is one of only two fully instrumental pieces, a freewheeling platform for Mitchell, Tordini, and Davis inspired by Lady’s poem of the same name.   Vocalist Shyu returns for the closer, “Cover Up,” a treatise on trust or the lack thereof, paid off ironically with a peaceful, comforting melody as Shyu’s vocals grow softer and breathy.

Portals, Volume 2: Returning is a deeply crafted album that purposely stays unsettled throughout, exploring poetry in less obvious ways, and featuring her cast of musicians and vocalists to express the full gamut of emotions. Davis hopes that we take away strength and grace in equal measures. That likely depends on your mood going in. Take the rewarding trip.

– Jim Hynes

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter