Swinging, intelligent originals and standards from hot young hands on the New York scene. Vocals rich in the idiom that recall 52d Street, the Village and New Orleans. Do you know what it means...? The vocalist uses the pipes as a true instrument making for a very intriguing experience.

touch me tender sweet voice. comfort me

the tunes on realplayer are really nice. I can't wait to get this CD!

The first album of the quartet Modus Novus should be of quite some interest for open minded people. Although the band’s main music-style could be described as modern vocal-jazz, their eclectic approach creates enough room for a lot of other musical genres. The CD starts off with “Birk’s Works”, a Dizzy Gillespie-composition with lyrics by singer Little Giant. This track is a good introduction for the latter, in which he can show his unique falsetto-like vocals which he lards with scat interludes, in a lazy jazz-rhythm, while guest-trumpet player Joe Gransden plays a relaxed solo. The song reminds a bit of Fred Cunimondo’s version of the Bricusse/Newley-tune “Feelin’ Good”, which has been played by amongst others John Coltrane. “Come Away Death” is the first of two compositions on which drummer/keyboard-player Eric Starr used lyrics from Shakespeare; quite daring I would say. The rhythm is quite easy again, with an typical double bass accompaniment by Mark Verdino. But also watch out for one of those sound-effects that gives this album that modern feel. Unfortunately there’s a bit poor sounding synthetic organ-solo on it, which doesn’t fit at all in the total group-sound. Lucky enough newcomer guitarist Marc Schonbrun can make that moment forget very easily with one of his introvert solo’s. His tone is like a pleasant buzzing bee, but don’t underestimate the passion and restrained virtuosity of his play. One of the big surprises of the record is the 1’45” short “Long Day”. It starts with some city-sounds before the beautiful Bannerman String Quartet gives you the idea to listen to a Schubert symphony. The tune melts together with another highlight, the instrumental “In The Spirit”, Starr’s tribute to Pat Metheny and Lyle Mays. Little Giant uses his voice like an instrument in a conversation with some soft trumpet-tones, before Schonbrun begins with his long, fabulous solo, that will get the hands together when played alive. The rhythms changes from time to time, which makes listening even more enjoyable. Shakespeare returns in “O Mistress Mine”, that starts with a introspective piano-intro by Starr. This is a typical after midnight jazz-ballad, beautifully sung and played. The piano-solo in the middle has a pleasant sphere in which seems to be hidden some notes from “Maria” from “West Side Story”. Then we come to the naughty Little Giant-composition “Dandelion Daisy Byrd”. He has some spoken words in it, together with a lot of slang-talk and vocal acrobatics, while Gransden’s muted trumpet and Schonbrun’s smooth guitar react constantly on Daisy’s bluesy “adventures” in the South (“Daisy didn’t want no man, you better witness and understand”). And is that a ping-pong ball that’s used as a percussion instrument at the end of Gransden’s solo? Speaking of searching new ways. The much covered “Lullaby Of Birdland”, originally composed by George Shearing, gives Schonbrun the chance to do some of his quick, jazzy solo’s, swept up by a fierce bass, while the middle piece is a long subtle solo-case for the drums of Starr, in which he lets his brushes hit the skins both soft and heavy. “So Blue”, another Starr-composition, starts with the sound that is familiar to a needle on a scratched LP. The stately piano-introduction we hear through these scratches (which are repeated a couple of times during the song) are lend from Bill Evans and form a perfect intro for the sensual, but also sad vocals. A very good musical idea on this one is the acoustic guitar-accompaniment and solo, which gives this album another of its warm moments. The CD ends with an arrangement of the Kenny Ascher/Paul Williams-composition “Rainbow Connection”. Playing children and an echoing electric piano introduce this piece. Gransden takes over with some lonesome, Kenny Wheeler-like phrases and Little Giant’s emotional vocals fits this little ballad perfectly. Modus Novus is a private release, although you can’t tell that from its production (done by Starr and Little Giant themselves), which is clear and professional. When you consider that this band was formed just before the recordings started you can assume these are talented guys who can only get better and better. Apparently they’ve already proven that in a couple of their live-shows. Enjoy this quality and take a listen to the album.