Pater’s concept is to utilize her extraordinary vocal range and sing multi-parts, from deep alto to high soprano, sometimes using as many as sixteen studio tracks to accomplish her determined goal.…her concept is fresh and Pater’s vocal intonation is stellar.
This project is unusual in that the artist’s vocals are used entirely like an instrument; no words spoken nor stories unfolding. This is comfortable background music that explores the art of scatting with the concentration on melody rather than storytelling. Beata Pater uses vocal layering as a technique to interpret eleven compositions. She invited Alex Danson to the project as her unique and gifted composer. Pater’s concept is to utilize her extraordinary vocal range and sing multi-parts, from deep alto to high soprano, sometimes using as many as sixteen studio tracks to accomplish her determined goal. At times, her sound reminds me of someone using a vocoder or vocal harmonizing device. According to the liner notes, Ms. Pater would rather be considered a lead instrumentalist than a vocalist, flipping the idea upside down that a jazz group has to simply support the singer. Instead, she melts her unique vocals into the world-music stew pot, becoming the meat of the matter. Yes, I said ‘World Music’ because this is not Be-bop, like Manhattan Transfer, or ‘Swing ‘ Jazz. The Danson compositions lend themselves to various cultures and musical credos. There’s nothing “Straight Ahead” here, but rather a comfortable blend of easy listening, instrumental productions. You might easily hear this recording on a World Music program, NPR, or alternative and smooth jazz stations. From an artistic perspective, I appreciate Beata Pater’s desire to color her music outside the designated lines and vocally step outside the box. However, as a lover of jazz and improvisation, and because improvisation is one of the most important facets of jazz music, the structured way this project is recorded appears more classical than spontaneous; especially when it comes to the vocals. Additionally, I miss hearing a story or lyrics delivered emotionally by the vocalist. Without the use of a vocoder, I wonder how this concept could be reproduced on concert stages as a ‘live’ performance. However, as a recorded project, her concept is fresh and Pater’s vocal intonation is stellar.
Dee Dee McNeil, Musical Memoirs
