The Royal Opera House of Musical Arts came up trumps at the weekend with two sold-out, stellar performances from one of the world's finest Jazz ensembles: singer, songwriter and violinist, Emmaline (rhymes with ‘Caroline’) Campbell brought her ensemble comprising three horns plus rhythm section.
Emmaline swept on stage in a stunning vintage silver-white long-sleeved dress, covering her signature left arm tattoo, for all the world a modern day, dark-haired Marilyn Monroe. She introduced herself to the audience in a long address, describing what she would play — a feature throughout the concert — a versatile mixture of jazz styles and original compositions.
She hoped her arrangement of Bobby Heb’s “Sunny” would be uplifting, letting positivity shine through its sparse, subtle funk. Immediately the pulsing bass-guitar riff from her younger brother, Trey Campbell, stood out against the punctuating horn trio — arranged by Trey. An expressive violin phrase from Emmaline was answered by tenor saxophonist, Chelsea Baratz. Guitarist, arranger and musical partner, Ryan Mondak, used a synthesised Fender sound-effect at times, enriching the ensemble’s texture.
The following original, “All my Sweetest Dreams” was in a similar slow, funk style with the vocals firmly at the Nashville end of the Jazz spectrum. It had a catchy repeating chorus over an innovative bass line and off-beat rhythm.
In contrast came the more conventional, smooth swing of Bart Howard’s “Fly Me to the Moon” with moody, soul-infused vocals and beautiful counter-themes from the trumpet. Emmaline’s third record, the fine composition “Retro Kind of Love” was in a smoochy, 1940s style with R&B inflections. It featured a lovely violin solo and irregular time signatures.
Emmaline trained at Cincinnati-College Music Conservatory studying classical violin on a full-ride scholarship. She then decided to change direction to combine jazz voice and violin — influenced by her father, a jazz pianist. Her early struggles were recounted in a very open and honest way, baring her soul.
She explained that ‘Contrafact’ is a term from 1940s Bebop, meaning to write a new tune on a standard chord progression. Her first jazz composition was the slow, “Shy”, using modern lyrics to the changes in Errol Garner’s “Misty”. Introduced by a brilliant trumpet solo from Zach Douglas, the chart was recognisable and featured some mellow, if not technically challenging, fiddle playing.
Emmaline clearly has popular appeal: youthful, glamorous good-looks and a vocal style between Blossom Dearie’s little-girl voice and Stacey Kent’s understated delivery. Further personal information revealed the inspiration for her catchy original, “Soft Spot”. It began like Jobim’s Bossa, “Desafinado”, telling a story about a breakup and using extended jazz chords on guitar, with impressive horn trio interjections. “Old Soul Love” was a successful pastiche of a 1940s classic jazz ballad. Smooth, laid-back vocals evoked a sultry quality in a smokey jazz club, with Trey now on upright bass.
James Brown's, “It’s a Man’s World” took the audience by surprise with Emmaline’s strong, feisty blues voice, singing from her soul. “I Got You (I feel good)” turned to more lyrical vocals in a funk interpretation of James Brown’s iconic hit. Baratz performed some fearless modern jazz improvisation, alternating with high screaming trumpet solos over Isaiah Cook’s ever changing drum patterns.
“These Are the Memories” gained Emmaline 2nd place in a US songwriter's competition — no wonder! The upright bass riff suggested “Girl from Ipanema” with a melody reminiscent of, “Then there was you”. Gorgeous, lush jazz chords from Mondak’s guitar reflected Emmaline’s talented versatility as a songwriter. “Everything’s Breezy” by siblings Emmaline and Trey Campbell is a love song to music. Returning to funk, some gutsy bass-guitar playing and punctuating staccato interruptions from the horns, Isaiah Cook finally had a chance to shine in a compelling, lengthy drum solo including woodblocks, bringing that section of the evening to an end.
Special guest of the evening, Anthony Strong appeared on stage, dapper in his blue check suit and black patent shoes. His slick, cool vocals in Gershwin’s “They Can’t Take That Away from Me” were accompanied by a convincing Grappelli-like fiddle solo. The final chorus ended in a subtle vocal duet, blending their voices beautifully.
The perfect rendition of Frank and Nancy Sinatra’s “Somethin’ Stupid” vocal duet was complemented by Baratz’s lush saxophone fills. Sam Cooke’s “Bring it On Home to Me”, arranged by Strong with tight vocal harmonies in 3rds and 6ths, was a refreshing change of style to Country Blues. The band’s new interpretation of Cole Porter’s “Just One of those Things” was a soulful, modern jazz fusion, featuring a startlingly high trumpet solo from Douglas with Strong’s dazzling improvisation technique.
Emmaline finally put her violin down and thanked the audience for coming, complimented the beautiful city and explained that her first ever collaboration with Strong would provide the encore. Crowded House’s “(Hey Now) Don’t Dream, it’s Over” was a final nod to funky rhythms with a classic vocal duet, showing off the entire ensemble at their very best. Unrelenting applause compelled the guests back for a curtain call and then the ensemble played the adoring audience out into the Maidan with toes still tapping to the rhythms.
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