Lauren Henderson

Sonidos

Brontosaurus

Bilingual vocalist Lauren Henderson returns with Sonidos, a 17-track collection that blends the influence of the African Diaspora and Latin American music. Her warm vocals often make these songs, a mix of originals and five standards, rather dreamy and eminently comfortable. Sonido is the Latin word for sound. Henderson is backed by a most formidable lineup of today’s musicians: Joel Ross (vibraphone), Sullivan Fortner (piano), Dezron Douglas and Eric Wheeler (playing on the trio-accompanied songs) sharing bass duties, and Joe Dyson (drums). The album is an extension of her 2024 Sombras, which also reflected her African Diaspora background. All four albums she has released in this decade presented these Afro-Latinx connections. She continues that exploration here on Sonidos, consistent with her cultural roots in Panama, Montserrat, and various Caribbean countries.

The Afro-Caribbean beats in the opener, “Vada,” set the tone for the album, which also has swinging jazz courtesy of Fortner and Ross. Henderson’s voice is warmly sensuous as she sings of trust of the heart. “Bold” is a straight-ahead jazz tune, with lyrics expressing resilience in the face of hardship. Fortner’s piano solo reveals his natural knack for swing, and as we hear in these next two, accompanied just by Wheeler, his renowned affinity for standards. The two are:  the bouncy Jose Alfredo Jimenez’s “Si Nos Dejan,” which reveals Henderson’s impressive vocal range, and Ira Gershwin’s “Love Is Here To Stay,” a fine example of her whispery, intimate fare.

Hendeson returns to quintet accompaniment on the enchanting “Flight,” with more swinging spots from Ross and Fortner, as well as a strong bottom from Douglas. “Luna” is a meditative ballad that meshes Latin, jazz, and classical strains in a sparkling waltz. The ethereal tone set by the vibes and piano underpins Henderson’s expressive vocals beautifully.

A clear standout is the classic “On the Streets Where You Live.” The oft-covered tune is a judicious choice for Henderson’s style, which has the rare combination of intimacy and swing. The voice and bass interplay evolves into melodic turns from Fortner and Ross, with Dyson navigating the quintet through the changes. Irving Berlin’s “Let’s Race the Music and Dance’ and “This Time the Dream’s On Me” fit well in this repertoire and are great vehicles for solos from Ross and Fortner.

The cha-cha rhythms of “Soledad,” enhanced by guest percussionist Luisito Quintero, may seem out of place following these tunes from the Great American Songbook. Yet Henderson has already woven a spell wherein the Latin-infused tunes fit nicely with the jazzy side. In fact, “Sounds” is a testament to how well she blends the two idioms that, through her lens, share colorful harmonies, meditative syncopations, and sincere storytelling. She has an unwavering idea of her direction. Not all these pieces fall into the lush, pensive ballad category. “La Llegada” is celebratory, meant to acknowledge Juneteenth. Fortner and Ross are effervescent with Dyson and Douglas spurring them on. It may have been the ideal closer, but instead, she ends with the title track, an ethereal piece where her voice floats over Ross’s resonating vibes.

Henderson’s penchant for experimentation or exploration has resulted in some uneven albums. She doesn’t fall into that trap here, however. Sonitos may well be her most fully realized album to date, due in part to her elite support from some of today’s best musicians.

• Jim Hynes

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