Clarence Penn: Behind the Voice

Drummer Clarence Penn, a serious force on the scene for more than three decades, has worked with a who's who of vocalists—Betty Carter, Kandace Springs, Luciana Souza, Kate McGarry, Nellie McKay, Claudia Acuna, Paula Cole, Melissa Walker and Nneena Freelon, to name just a few. He knows more than a thing or two about history and creativity behind the voice, and he's here to show it with this sharply-constructed date. Working with a stacked lineup of singers and instrumentalists, and using his production, arranging and multi-instrumental/vocalized chops to reimagine ripe repertoire and some surprising selections, Penn brilliantly explores the nexus connecting drummer and song.

This nine-song program takes off with a dose of late 70's Stevie Wonder in the form of "Send One Your Love." Aaron Marcellus, in the first of his two appearances, does a stellar job selling soul in voice, but what's even more remarkable is the slick yet subtle glazed-and-grooving atmosphere that Penn creates to surround him. The inimitable Kurt Elling drops in for Peter Gabriel's "Come Talk to Me," where guitarist Gilad Hekselman gets some spotlight and the leader locks things down and paints with fine-drawn focus. TOKU brings a stylistically appropriate drawl to Levon Helm's "Growing Trade," a welcome scenario that benefits from Gregoire Maret's harmonica, Shedrick Mitchell's keys, and a sincere roots approach from all involved. And Chelsea Jackson tackles peak-era Prince on the absorbing "Sometimes It Snows in April."

Deconstructing and reimagining Dave Grohl's "Everlong" at album's midpoint, Penn puts his surgical touches at center stage along with his vocoder work and powerful playing behind the kit, drawing greater focus toward his wide-ranging skill set and the album's mission to broaden and acknowledge the connection between drummer, songwriter, producer and singer. Then Emily Braden updates Don Henley's designs on a metrically-tweaked, mood-altered "The Heart of The Matter"; Marcellus embodies the spirit within and surrounding Phil Collins' "Why Can't It Wait Till Morning"; Penn occupies the fore and rear on "Human Nature," melodizing with vocoder and laying down the foundation along with bassist Yasushi Nakamura; and Jackson returns to put forth low-key Erykah Badu vibes on Penn original/closer "You Are."

Well-conceived projects touching on under-explored angles are few and far between these days, but Clarence Penn delivers one with Behind The Voice. A conceptually sound work built on a wonderful sonic concept, its riches are innumerable.

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