Vanessa Fernandez • Remember Me Groove Note GRV-1400-1
Now, Remember Me, Fernandez’s fourth album for Groove Note, reprises a few classic R&B tunes along with a handful of more modern-day pop songs (including one of her own) in an intimate setting using much the same group of musicians as on her earlier Groove Note album I Want You. Remember Me is presented in a beautiful, sturdy gatefold sleeve featuring a contemplative portrait of the singer on its cover. Inside are details on the recording, the musicians and acknowledgments from Ms. Fernandez. We learn that the recordings were made at Sunset Sound in Los Angeles, with all tracking and mixing done 100% all analog by Michael C Ross. Mastering was done by Bernie Grundman on his newly upgraded lathe. Details of the session that audiophiles might appreciate include a note that a Neuman U-67 tube microphone was used for vocals and all microphone cabling was from New Jersey cable manufacturer Kubala-Sosna. Pressing data was unavailable, but the review LPs were as flat, clean and noise-free as any I’ve experienced. Disc one’s opener, “Feels Like Summer,” offers a great start. A smooth groove sets the tone of the session, and the engineering brings Fernandez into the room with you, front and center. The ensemble, spread across the front wall, acts as a perfect complement to that voice. The notes from Felipe Melanio’s perfectly miked acoustic guitar fell like quicksilver on my ears. Earth, Wind & Fire’s chart topper “That’s The Way of the World” is given a fine interpretation here and offers a further demonstration of Ms. Fernandez’s vocal chops. She effortlessly sweeps through octaves of notes, with the fluidity of her silky voice seemingly just a few feet away. Tim Pierce’s retro guitar solo is a plus. After the spoken countdown, “It Runs Thru Me” opens up into a Latin-infused, up-tempo number featuring more precise ensemble work behind Fernandez’s adventuresome voice. Disc two leaves the generally upbeat aura behind with its opening number, “Hum The Bass Line,” a sung/spoken recitative penned by multi-talented, US-born Nigerian singer and poet Iyeoka Ivie Okoawo. Fernandez digs deep on this one and gives one of the more sober moments on the album. Lenny Kravitz’s late-1990s song “I Belong To You” is next and returns to a more festive mood. It receives a lively take here and, with the use of bongos, captures a bit of the spirit of the reggae-inspired original. Once again, the guitar was exceptionally well-miked here. As the stylus hit the groove on “Kiss,” I thought for a minute I was listening to "The Artist Formerly Known as Prince." Fernandez and crew do a great job on this one, the funkiest cut on the album. The next cut, “Lovely Day,” represented quite a contrast -- from street-wise funk to tender, late-night balladry on this Bill Wither’s classic. The combination of Fernandez’s sultry voice and laid-back arrangement had me reaching for the light switch for a mood change. The return to a stylish groove on “You Are The One I Need” finds the singer in her best vocal role -- straight ahead and “real.” Also, with material as good as this (sourced from Barry White), expertly arranged by Tim Pierce, you can’t miss. Shades of the Eagles mega-hit “Hotel California” greet the listener from the get-go on “Roads.” However, instead of Don Felder and Joe Walsh’s guitar duels, we get Felipe Melanio, who manages to acquit himself very well. The epic story told on “Love and Hate” demonstrates Fernandez’s dual vocal personalities -- soft/silky and throaty/direct -- to good effect. Tim Pierce contributes a nice electric-guitar solo here. Finally, Fernandez’s own composition, “Breathe Easy,” finds everyone in a relaxed mood. It’s a fitting close to an album of extraordinary music-making. Once again, Ying Tan has given music lovers and
audiophiles a gift of well-chosen, well-arranged, well-performed and exceptionally
well-recorded music. The outstanding quality of the mastering and pressing allowed my
Shibata-tipped Audio Technica cartridge to draw all of the dynamics, tone, timbre and
individuality of each instrument, including Fernandez’s voice, from the grooves. I
predict that at upcoming audio shows, savvy exhibitors will reach for the vinyl edition of
Remember Me to spin on their turntables. You don’t have to wait for a show,
though. The album is available now from the usual sources. |
lmost two years ago, 