Cassandra Wilson: Blue Light Till Dawn (1993)

Cassandra Wilson has steadfastly refused to be pigeonholed or confined to any stylistic formula. Her highly anticipated Blue Note debut may stir renewed controversy, as she is once again all over the place. She begins the set with her intriguing version of "You Don't Know What Love Is." Then she moves from two Robert Johnson covers ("Come on in My Kitchen" and "Hellhound on My Trail") through rock compositions from Van Morrison and Joni Mitchell, her own title track, blues cut "Redbone," and a piercing version of "I Can't Stand the Rain" that can hold up to comparisons with Ann Peebles' classic. She doesn't have Johnson's menacing quality (who does?), but does invoke an equally compelling air. Wilson has great timing, pacing, and delivery, and certainly has blues sensibility in her sound.

Cassandra Wilson is a postmodern jazz singer, a conceptualist who sees no dividing lines between genres. If her career had commenced in the 1970s rather than the label-conscious 1990s she would have been marketed as a mainstream pop diva. Her magnificent voice and interpretive genius mark her as a jazz singer for the ages, however. She finds her material wherever her fancy takes her and remakes it in her own image, whether it be the country blues of Robert Johnson's "Come On in My Kitchen" and "Hellhound On My Trail," the soul of Ann Peebles's "I Can't Stand the Rain," the elegant R&B of Charles Brown's "Tell Me You'll Wait for Me," the melodic pop of Joni Mitchell's "Black Crow," and Van Morrison's "Tupelo Honey," or her own "Redbone"--and the title track, accompanied by steel guitarist Gib Wharton. --John Swenson

Track listing

"You Don't Know What Love Is" (Gene DePaul, Don Raye) — 6:05

"Come On In My Kitchen" (Robert Johnson) — 4:53

"Tell Me You'll Wait For Me" (Charles Brown, Oscar Moore) — 4:48

"Children Of The Night" (Thom Bell, Linda Creed) — 5:19

"Hellhound on My Trail" (Johnson) — 4:34

"Black Crow" (Joni Mitchell) — 4:38

"Sankofa" (Cassandra Wilson) — 2:02

"Estrellas" (Cyro Baptista) — 1:59

"Redbone" (Wilson) — 5:35

"Tupelo Honey" (Van Morrison) — 5:36

"Blue Light 'til Dawn" (Wilson) — 5:09

"I Can't Stand the Rain" (Don Bryant, Bernard Miller, Ann Peebles) — 5:27

Personnel

Cassandra Wilson – vocal

Olu Dara – cornet

Don Byron – clarinet

Charlie Burnham – violin, mandocello

Tony Cedras – accordion

Brandon Ross, Chris Whitley – guitar

Gib Wharton – pedal steel guitar

Kenny Davis, Lonnie Plaxico – bass

Lance Carter, Kevin Johnson, Bill McClellan, Jeff Haynes, Cyro Baptista, Cyro – percussion

Jacky Terrasson & Cassandra Wilson: Rendevous (1997)

Jacky Terrasson & Cassandra Wilson: Rendevous (1997)

Tracklist

1. Old Devil Moon

2. Chan’s Song

3. Tennessee Waltz

4. Little Boy Lost

5. Autumn Leaves

6. It Might As Well Be Spring

7. My Ship

8. I Remember You

9. Tea For Two

10. If Even I Would Leave You

11. Chicago 1987 

Musicians

Jacky Terrasson - piano, electric piano

Cassandra Wilson - vocals

Lonnie Plaxico, Kenny Davis - bass

Mino Cinelu - percussion

Throughout Cassandra Wilson's career, jazz critics have been presuming to tell her what to do. Instead, she maintains her own impressive balance among jazz standards, other popular songs, and originals, and among a "jazz" approach, a guitar-based country blues spareness, and art-pop inspired by one of her greatest influences, Joni Mitchell. Here she reminds us that she can bring tremendous freshness to standards. Star pianist Jacky Terrasson makes it almost easy for her. His standout contribution, though, is a tinkling, decidedly late-autumnal solo "Autumn Leaves." Bassist Lonnie Plaxico and percussionist Mino Cinelu contribute impressively on a trap-setless disc, on such numbers as a sad-soul "Tea for Two," and a slowed, bluesy rendition of "Tennessee Waltz." --Peter Monaghan

These 2 supreme contemporary jazz talents have collaborated on what will become known as a classic jazz record. Each artist graciously allows the other to shine throughout this incredible recording, but without over-the-top flourishes and histrionics - this is a pure, soul-filled jazz recording, a smoky smooth effort. All players on the album contribute, each putting their own stamp on the result - a rare treat. 

Cassandra Wilson: New Moon Daughter (1995)

CASSANDRA WILSON

 New Moon Daughter (1995)

1. Strange Fruit    5:35  
l2. Love Is Blindness    4:56
3. Solomon Sang    5:56  
l4. Death Letter    4:13
5. Skylark    4:08  
 6. Find Him    4:39  
7. I'm So Lonesome I Could Cry    4:51  
8. Last Train To Clarksville    5:16  
 9. Until    6:30  
10. A Little Warm Death    5:45  
11. Memphis    5:05  
12. Harvest Moon  5:01

Personnel

    * Cassandra Wilson – vocals, acoustic guitar
    * Cyro Baptista – percussion, Jew's-Harp, shaker
    * Dougie Bowne – percussion, drums, whistle, vibraphone
    * Gary Breit – Hammond organ
    * Kevin Breit – acoustic & electric guitar, banjo, bouzouki
    * Brandon Ross – acoustic & electric guitar
    * Charles Burnham – violin
    * Tony Cedras– accordion
    * Graham Haynes – cornet
    * Lawrence "Butch" Morris – cornet
    * Jeff Haynes – percussion, bongos
    * Peepers – background vocals
    * Mark Peterson – bass
    * Lonnie Plaxico – bass
    * Gib Wharton – pedal steel guitar
    * Chris Whitley – guitar on 1


Amazon.com essential recording
Her luscious alto has the depth and texture of a great tenor saxophonist, but Cassandra Wilson's defining asset is a postmodern song sense that enables her to surf through Son House, Neil Young, Johnny Mercer, Billie Holiday, and (gasp!) the Monkees in pursuit of strong songs that can provide that instrument with a canvas. Her second Blue Note album extends Wilson's seductive pilgrimage beyond the conventions of jazz repertoire and accompaniment, yet it's her instincts as a jazz singer that inform these brilliant readings. The settings again step away from traditional small group jazz (for starters, there's no piano) to evoke the emotional core of these songs. Anyone who can turn the Monkees' "Last Train to Clarksville" into a slow-burning erotic vignette deserves your attention. --Sam Sutherland

From Jazziz
If any one vocalist embodies the skills, styles, and creativity of the 21st-century jazz singer, it is Cassandra Wilson. Early on, Wilson aspired to sound like Betty Carter - "to be Betty," she said in a 1996 JAZZIZ interview. But Carter implored Wilson to find her own way, and that she's done. Building upon the legacies of Carter and many other standard-bearing singers, yet focusing on her own personal influences, Wilson has achieved astonishing popular and critical success.

Cassandra Wilson: Sings Standards (2002)

Cassandra Wilson : Sings Standards

1. Polka Dots And Moonbeams
2. I Wished On The Moon
3. 'Round Midnight
4. Angel
5. I've Grown Accustomed To His Face
6. Chelsea Bridge
7. I'm Old Fashioned
8. Baubles, Bangles, And Beads
9. Blue Skies
10. Blue In Green

Personnel:
Cassandra Wilson (vocals);
Grachan Moncur III (trombone);
Mulgrew Miller, James Weidman, Rod Williams (piano);
Jean-Paul Bourelly (guitar);
Kevin Bruce Harris, Lonnie Plaxico, Reggie Washington (bass);
Terri Lyne Carrington, Mark Johnson (drums).

Jazz fans who complain about not hearing enough jazz in Cassandra Wilson's eclectic sound, which has increasingly tilted toward pop and blues, will find ample rewards in this collection of her (relatively) straight-ahead efforts from the late '80s. Drawing from four albums for the JMT label, it charts her steady growth away from Brooklyn's electric, funk-based M-Base school and into an earthier, more personal approach. Going to school herself on Betty Carter's elastic time feel and unhurried rhythms, she avoids predictability on songs such as "'Round Midnight" and a wordless rendering of Billy Strayhorn's "Chelsea Bridge." There's less interest in her handling of earlier standards such as "I'm Old Fashioned" and "Blue Skies," which lack depth, but never any lack of attractiveness. --Lloyd Sachs

Forget the debates about whether or not Cassandra Wilson is a jazz vocalist -- here she proves she is one of the most original, creative and intelligent jazz musicians of our time. Her instrument -- the voice -- is rich and robust. Body and Soul might very well be her masterpiece.