AUBREY JOHNSON

THE LIVELY AIR

Greenleaf Music

Aubrey Johnson, vocals/composer; Tomoko Omura, violin; Chris McCarthy, piano/Fender Rhodes; Jay Sawyer, drums; Matt Aronoff, bass; Alex Lore, bass clarinet/alto & tenor saxophone/flute.

Through a Chamber Music America-supported mentorship with Billy Childs and an artist residency at MacDowell, Aubrey Johnson honed her unique approach to writing long-form pieces that take the listener on emotional and drama-packed journeys.  She opens with an original she has titled simply, “Hope.”

https://www.youtube.com/watch?v=WObzdil8aPA&list=RDWObzdil8aPA&start_radio=1

This album is a mixture of Johnson’s original compositions and some of her favorite works by artists like Joni Mitchell and Kurt Elling.

I found her singing a jazz song on youtube. It was the popular “I Wish I Knew” composition, where her pianist gave the tune a little swing groove.  Aubrey showed that she has perfect pitch, by beginning the song a ’Capella, singing the verse competently without accompaniment.  However, even after listening to this ‘live’ performance, I would not necessarily box her into the jazz market.

https://www.youtube.com/watch?v=lXivM03v4lw&list=RDlXivM03v4lw&start_radio=1

On her latest release, her interpretation of Joni Mitchell’s “Help Me” suits her soprano tone and style.  She adds background vocals to the arrangement, which softens the production. Aubrey Johnson has one of those ‘cut-through’ tones to her voice, with a range that enjoys playing in the upper register. On “Help Me” she and Tomoko Omura (on violin) sound playful and well-matched in tone and texture.  They improvise, exuding happiness at the fade of this tune. Chris McCarthy lends a quiet solo piano part towards the song’s end.

This is followed by Johnson’s composition “Don’t Be Afraid” with a melody that dips and dives. Add challenging intervals and high notes tumbling over each other to define Aubrey Johnson’s composer skills.  Also, Johnson enjoys scat-singing over the musical chords.  She is known throughout the music scene as ‘the vocalist to call’ for the most daunting and intricate projects.

This is quite evident on her very classical rendition of “Chorinho” that is sung wordlessly, with her voice dancing like a piccolo above the piano execution of McCarthy.  This is followed by the bass of Matt Aronoff, who opens the Kurt Elling tune called “The Waking.”  They present a duo presentation of voice and bass that is quite unique.

Aubrey Johnson’s crystal-clear, soprano range and vocal agility highlight her rare and individual style. Her voice also easily lends itself to pop and chamber music.

Reviewed by Dee Dee McNeil

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