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Sheila Jordan uses words as if they were a resource she herself had invented. She accommodates them to the rhythm of the song, she rocks them, she tweaks them if she needs to, and she ends up funnelling them into a melodic current that seems as if it’s being born every instant. This expressive simplicity found its best channel in bebop. First of all in Detroit, where she was born, and then in New York, with Lennie Tristano and Charlie Parker. The latter turned out to be Sheila Jordan’s greatest maestro, but she had such a unique personality to start with that today, all these years later, she remains absolutely relevant.
She proved that last year at the auditorium in Conde Duque Cultural Centre and now, about to turn 90, she will prove it once again on the hospitable stage of the Clamores Jazz Club. Lady Jordan never had a voice with a particularly wide range, her authority always relied on diction, on persuasion, on the expressions she so wisely and unfailingly chooses. This is what it means to fulfil the old maxim of teaching by entertaining. Up close, in your ear. Charlie Parker said that her ears – given their role as an archive of the art of jazz to which she was both witness and protagonist – were worth a million dollars.
Vocals: Sheila Jordan.
Double bass: Cameron Brown.