The confessional mode and the minimalist intimacy of the arrangements on this exquisite CD nestle up in the section of my collection where M.Ward, Bill Callaghan and Nina Nastasia are to be found.
Gentler than all those, though, and sparser, "We Made This Ourselves" is more than anything a vocal recording.
ESSIE JAIN's voice is soft and pure, quietly pressed, with resonance and power in reserve. On "Sailor" there is a genuine self-duet, with additional cello (played, I believe by herself) and it's clear that we are not dealing with a merely "exotic" voice, but an adult instrument with range and intelligence. The deftness of musical touch, and the quality of the voice makes the whole album a great pleasure. Even if had no other qualities, it works as restrained, mature music-as-balm.
So far, so good. Especially for those whose pleasure is best tinged with melancholy. But better yet, the ten songs themselves have riches to offer. Lyrics, tunes, accompaniments are delicately, precisely delineated and beautifully recorded. The Leaf Label is maintaining its own extraordinarily high standard in both artist and repertoire. Whether a large audience gathers or not, no matter. This album can be safely ordered by anyone who is inclined to wallow in the luxury of heedless perfection.
The piano waltz of "Disgrace" has a French feel, with the tiniest hint of accordion, the very lightest (almost unnoticed) touches of percussion and a rolling tune that conceals a political lament for the death of commitment.
"Understand" has a cautious guitar, a drum of Jim White sensitivity and a drawn-out tune of ancient and almost fearsome beauty. The emotional dilemmas that dominate the album are strongly present here
"Glory" is near to folk song in the shape of its tune. This might be said of the whole album, if it weren't so clearly not folk music. Folk song venues would give the detailed attention to the acoustic qualities of the performance and the delightfully spare addition of a few guitar notes extending the melody and harmony. Folk song audiences would love it. But it definitely is not folk song. I suppose you would have to say it was "art" music, individually rather than culturally expressive. Folk songs have stories. ESSIE JAIN offers us notes from inside her own emotional story - a much more modern business altogether.
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In that mode "Talking" stands out as the crisis moment in that story. Its hesitant piano and restrained voice are at painful odds with the repeated "Shut up, shut up, shut up". There is darkness here that is more striking for being (as with NINA NASTASIA) understated and plainspoken "You've go to be kidding, You shouldn't be telling ..."
The directly simple eroticism of finale "No Mistake" is a highlight. Just voice and a softly strummed guitar, the tune rises and falls, voice against guitar "There's no mistaking it, I want you. / There's no mistaking it, you want me too." Sung without passion, there is a touch of fear in the voice and a fatalism in the final dying notes. Loss of self as much as pleasure in another's warmth.
www.essiejain.com
www.last.fm/music/Essie+Jain
www.myspace.com/essiejain
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