Morning breaks somewhere in the world, always, with the first cracks of light slicing across the horizon like a knife through the edge of night. Mourning – of lost love and loved ones, dashed dreams, and so much more – breaks, too. The new day brings with it new hope, but it can’t and won’t be rushed. It comes when it comes.
Singer, songwriter and pianist Natalie Duncan’s Free skirts the divide, delving into both sides with artful precision. The album opens with “Kansas,” which is akin to a sonic wave that sweeps from the speakers with strings and wordless vocals before morphing into something more. “How many people try to put out your light/you’ll never know, so you better glow/baby, come shining/baby, come shining…”
Neo-soul, R&B and jazzy elements come together in an uncluttered production that enables chords to breathe – and for Aaron Janick’s trumpet to float in from the distance like a dream on certain songs and interludes, such as on “Pools” (which I featured yesterday) or “Glass,” which samples Nina Simone.
With Richard Spaven on drums and Alan Mian on bass, a solid rhythm anchors many of the R&B-flavored tracks. “Atrium,” an early favorite, is a good example. “Going backwards/all the same words/I’ve been through this/but it still hurts/I’m just waiting for some stillness…”
“Nova” is another.
If you listened to one or both, you’ll notice an old-school vibe that conjures, but doesn’t copy, Alicia Keys. “Sirens,” “Karma” and “Autumn,” on the other hand, are jazz-imbued tunes that would be at home on a Nina Simone LP, while “Strange” (“I know I am insufferable sometimes…) and “Brave” could well be unearthed Roberta Flack treasures.
Shorthand comparisons aside, what comes through the most is Natalie Duncan. “Diamond,” the closing track, deftly blends old-school rap with her old-school soul in a way that’s both sweet and bittersweet. “Happiness is just a concept/happiness is something you can choose to remember or forget/happiness is never, ever having to regret…” (To quote Diane, “I could listen to her rap all day.”)
Free closes just as it begins – with strings and wordless vocals – as if to demonstrate that, just as night slides into day, day glides into night; it’s the cycle of life. With these 12 songs as part of one’s personal soundtrack, however, the downtimes will hurt a little less and the good times will rate with the best. It’s a great album.
The Old Grey Cat 
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