Have you met Miss Jones?
Often, a jack of all trades is one who can traverse many bridges equally well; Mimi Jones is no exception. As a bassist, vocalist, and composer, she possesses the triple threat that many musicians can only dream of having at their disposal. A New Day, Jones’ debut album for Hot Tone Records, is not only a testament that chronicles her transitional role from sideman to a leader, but leaves plenty of room for musical progression.
The most important parts of an album (especially a debut) are the first and last notes that sound. In this case, listeners are greeted with “Fast Lane” and a slightly out-of-tune acoustic guitar introduction (unacceptable on an album – especially on the opening track) that lacks tonal charisma. Thankfully, with Jones’ at the helm on bass, an appropriately laid-back rhythm section grounds the track and allows for guitar and Wurlitzer solos to complement each other. Listeners are introduced to Jones’ vocals on “Watch Your Step” – a sultry, down-home groove that lays a foundation over Jones. While not her most solid vocal track on the album, it is evident that Jones’ vocals begin to settle as the album moves along.
As listeners begin to warm up to Miss Jones, “Mighty Time” and the gorgeous textures of “Close Your Eyes” take the music to a soft, colorful, and gentle place; Jones’ voice glides effortlessly over the ballads like a shooting star in slow motion. Unfortunately, as Jones’ compositional diversity spreads its wings in tracks like “Suite Mary,” anti-climactic trumpet lines (flavored via the influences of Freddie Hubbard via Ambrose Akinmusire) leave the tune in a state of ambivalence and listeners unsatisfied. However, kudos to Miss Jones for her efforts and diversity – there’s plenty of time for this young jazz lioness to fill the gaps in coming years.
As the album moves along, listeners can tell that Jones’ voice has not only settled over top and with the groove of the rhythm section, but that the production scale has increased as well, featuring layered vocal harmonies – the latter is gracefully landed. After a six-minute light groove of “Thank You,” listeners are treated to over thirty seconds of silence; while this might appear as an unnoticed mistake, the extended silence concludes the tracks well and allows listeners’ ears a short rest before the album’s conclusion with the traditional “We Shall Overcome.” However, listeners are jerked to a sudden halt at the end of “We Shall Overcome” – the second instance (and in a row) of possible production neglect.
While Mimi Jones’ debut album establishes her as an accomplished bassist, vocalist, and composer, there is much that can and will improve over future works: production and studio technicalities in particular. According to mega-producer and composer David Foster (as learned from his friend and mega-producer Quincy Jones), artists should not compromise and settle for mediocrity when their name goes on a product – a creed that all musicians must stand by – an album is forever (the bland album cover art included). The good news: Mimi Jones’ career as a bandleader has just begun, and her climb to further musical maturity has embarked with it. Stay tuned – good things to come from this young New Yorker.
Matt Jaworski – Muzikreviews.com Staff
July 9, 2009