'Urban Objects' Liner Notes and Audio Files

Liner Notes by Harvey Pekar

Brecher deserves a great deal of credit for putting this CD together so intelligently. Her excellent singing, of course, contributes much to its success, but the thought and work she's put into making each track distinctive and memorable, her fresh arrangements and compositions and astute selection of musicians should be recognized as well.

The Tunes:

On Summertime Kaylé artfully demonstrates a variety of abilities. The rubato prelude section features her sultry vocal work, followed by a bass vamp leading to a swinging up tempo section during which she turns in energetic wordless, hornlike improvisation with her own distinct flair.

Li'l Darlin  turns up one of the more unusual duos you're likely to hear, with Kaylé and tubist Harry Salloti. Their high-low contrast in this minimal setting works nicely to make this classic melody stand out. Salloti backs Brecher's relaxed inviting vocal work with agile, full-bodied playing.

The infectious All Directions, an original Brecher composition, has a stop and start, almost mixed meter quality, and is a vehicle not only for her, but the inventive Butrey. This is a group performance, something Brecher consistently strives for - not just a singer and accompaniment - with drummer Poitras and bassist Thompson completing the ensemble for this compelling track.

Much of the Jefferson Airplane's Today is a vibes-vocal duet, which almost seems to have the quality of a gentle English folk-song. But the interplay here takes it to another level. Percussion is added by Brecher and Armen Halburian when Kaylé begins to scat, and the solo section becomes a wonderful sweet-edged improvisational intertwining between Miceli and Brecher which also takes on the feeling of mixed meters.

Chico Huff's fine bass breaks open up the theme statement on (Back to the) Red Clay. In this Freddie Hubbard tune with Kaylé's lyric, Kaylé spaces out the head and directs the rhythm section in a setting reminiscent of Weather Report. On this track and on Choices, a Brecher composition with an Afro-Cuban feel, the rhythm section work gets relatively complex, with percussionist Edgardo Cintron joining the band on both tunes, and Brecher adding extra percussion on Choices. During these two tunes Kaylé sings engagingly, and she solos with strength and flexibility on (Back to the) Red Clay. Also woven in are very fine solos by Miceli, a solid modern player, on (Back to the) Red Clay; Butrey, note his subtle use of distortion and note bending on Choices; Dzubinski, who provides the perfect touch, and sensitive contrast to Butrey's intensity on Choices.

There is still another duet on Cry Me a River, with Brecher contributing sensuous singing and dramatic use of silence, and Butrey working subtly with her. It has a mood similar to the Julie London version, but Kaylé, a distinctive stylist, definitely makes it her own.