Gabi Hartmann-meets-Mina Agossi-meets-Florence Joelle – that kind of space the style lands in
Sternberg, who I think is from Oz and is on the Paris scene, is known perhaps most for her brief work with Morcheeba, has an unusual, minor-key voice. There’s a sort of savoury bluesiness to it. But this album is more jazz than blues. Her slightly askew intonation and enunication but actually the more you listen spot on pitching at a husky contralto height give the record a sort of transgressive frisson which is always welcome. It’s not especially camp in the overly knowing everything in inverted quote marks cabaret sense that often sits well with a jazz vocals approach. But she doesn’t do innuendo and the songs canter rather than go the full gallop into vocal acrobatics or anything like that. It’s too laidback for that.
I’m not really being overly charitable at all or damning the release with faint praise. But I’d be telling a fib if I didn’t say I find the album a bit uneven. Because the middle songs aren’t so good and the album becomes a bit soggy almost to a disastrous extent. However, all is salvaged later. And reader you know I have a soft spot for it ultimately and keep drifting back to hear bits of it on repeat.
The title track, ‘Sea of Love’ (written by Phil Phillips), opens the album with an understated, bluesy warmth. The cinematic ‘One More Kiss, Dear’ (composed by Vangelis) features a deep-toned duet with French vocalist Arthur H which is fun. ‘Dearest Lord’ (a traditional arrangement) is also quite a moment, the bassist does sterling work. Another highlight is ‘Buzzing Bee,’ where Sternberg sets her own not at all annoying words to Freddie Hubbard’s classic ‘Little Sunflower.’ A character-rich release then. Play its best bits lots.
- Sternberg is playing Sunset in Paris tomorrow night.
