Shirley Horn, Diana Krall, Patricia Barber, Norah Jones. The piano chanteuse is swinging into
vogue in a major way. A smart move that the newest series in the MAXJAZZ arsenal is the vocal-
piano series, and even smarter that the label elected Patti Wicks for its inaugural outing. Patti Wicks
demonstrated an acute musical aptitude at an early age, nurtured by her tenure at the Crane School
of Music, where she studied classical piano and composition. There, she was introduced to jazz
and caught the bug, eventually shifting her focus from the classic pursuits to jazz piano and finally
vocals.
Hmm. Here is the politically incorrect part of the review. Ms. Wicks is a willowy, attractive
blonde who--by looking at the disc cover--one would think has a delicate coquettish voice. What
you hear after the opening bars of Ray Nobel’s "Love Locked Out" is a deep resonant
alto peppered with a sensual huskiness that is not in the least bit fuzzy or ill defined. Wicks’ voice
betrays straight and level experience without a hint of naiveté. She sings this collection of
plaintive ballads with a tone of assurance that this too will pass with no notes of defeat.
Her piano is equally impressive. Not too many notes, this one: Ms. Wicks has talent to burn and
to my ears has a better-defined piano style than Diana Krall, with a maturity light years ahead of
Norah Jones. A splendid example of both her singing and pianism is found in Tadd Dameron’s
"If You Could See Me Now." Wicks delivers this brilliant ballad with certainty and
confidence.
Patti Wicks’ voice and piano are closely captured and pushed to the front to the recording.
Bassist Keter Betts and drummer Joe LaBarbera support her with that perfect balance of swing and
restraint, allowing Ms. Wicks to drive the bus alone. And this is one bus you wouldn’t want driven
any other way.
For more information, see MAXJAZZ
and Patti Wicks.
~ C. Michael Bailey
