But the heart of the album is in the bossa and American Songbook classicism. On the title track, the minor chords and the violin theme take you deep into film noir, and the vocal line splits the difference between Simone and Antony Hegarty. Klein keeps the vocals "honest," with Gardot's voice up close to your ear, and the arrangements bring out the perfect floating Getz-like sax line or chiming Gardot acoustic guitar against strings.
When I get her on the phone in London, Gardot disputes the notion of genre. "I'm not in the business of making music for other people, in the sense that I'm not in the business of making music with genre and result in mind." Rather, she follows "gut" and "instinct," chasing the sound she hears. And yet, she does allow that bossa nova has been shaking her world lately. She doesn't write music, so to get the effects she wanted, she talked to Mendoza using "singing, humming, and metaphors."
However she does it, she's good. She'll bring her regular band — trumpeter Patrick Hughes, saxophonist Bryan Rogers, bassist Ken Pendergast, and drummer Chuck Staab — plus, she hopes, a vibist and a cellist to the Regattabar for a sold-out show on the 18th.
3PLAY+ | Lily Pad, 1353 Cambridge St, Cambridge | June 18 at 10 pm | $10 |www.lily-pad.net
MELODY GARDOT | Regattabar, Charles Hotel, 1 Bennett St, Cambridge | June 18 at 7:30 pm | Officially sold out
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