Presenting Ms. Rita Edmond – Meet The Contemporary Face of True Jazz Royalty.

.

Ms. Edmond moves between sultry sophistication, hard driving swing, and childlike innocence without any effort at all. There are many great singers out there , but from the very first bar of anything Rita does, she clearly distinguishes herself as one of those rare individuals who was born to do exactly what she’s doing, and nothing else. She swings with the effortless grace of a Sliver Shadow cruisin’ down Pacific Coast Highway, and her ballads are lush with sultry passion, personal depth, and individuality.

.

You can’t “learn” to sing like Rita Edmond. You either have it, or you don’t, and there’s only one or two lucky few in a generation who do – but Rita, like Ella and Sarah, is one of those lucky few. But don’t just take my word for it, go check her out for yourself and I’m sure you’ll agree with me that she’s a once in a generation talent, and clearly the heir apparent to some of the greatest divas that jazz has ever known.

.

Along with this piece I’m attaching three links to make my point – ‘Here’s to Life,’ ‘Embraceable You’ (Live at the Los Angeles County Museum of Art) , and ‘It Might As Well Be Spring’ – and each tune shows a different side of her tremendous, and still growing, musical personality.

.

‘Here’s to Life’ is a beautiful ballad that’s been done by some of the greatest singers who’s ever lived, yet Ms. Edmond’s version is as good or better than any version of this tune that’s ever been recorded. The soaring passion that she brings to this tune makes it almost impossible for anyone who’s ever had to struggle through life’s adversities to listen to with a dry eye.  Artie Butler – the multi-Grammy Award winning composer (and Barbara Streisand’s musical director) – said of Ms. Edmond, “Rita Edmond knows exactly what to do with a song like ‘Here’s To Life.’ She brings the listener into the music as she sings, making you feel she’s singing just for you. That’s indeed a gift.”

.

‘Embraceable You,’ (featuring Harold Land, Jr. on piano) demonstrates the ease in which she can establish the mood of a song and captivate an audience. It also shows an artist who is so comfortable in serenading an audience that it seems like she was born on stage. And after the piano solo, notice the effortless spontaneity in which she throws in a lick that’s so exquisite that it sounds like it should have been written into the tune. You won’t be able to miss it because the audience places an exclamation point of approval immediately afterward, as she casually, and routinely, moves on to the next phrase, as though it’s all in a night’s work.

.

Finally, she does ‘It Might As Well Be Spring,’ a tried and true jazz standard. Not everyone can do this tune well, because it’s such a jazz staple that it’s hard for a singer to put their personal stamp on it, and whenever they try, they either over sing or under sing the tune.  But Rita swings through it effortlessly and makes it her own. King Pleasure himself would smile at her rendition.

.

I also wanted to add Ms. Edmond’s rendition of ‘This Can’t Be Love’ as an attachment, but unfortunately, it’s not available on Youtube. Nevertheless, it deserves a mention. On that tune Ms. Edmond displays yet another part of her musical vocabulary – her growing chops as a scatter and her ability to swing with the best of them. In this case, she scats in unison with yet another powerhouse, tenor sax player Ricky Woodard, and they’re pushed forward by the hard driving rhythms of Albert ‘Tootie’ Heath of the illustrious Heath Brothers on drums – and when it comes to the aristocracy of jazz, they don’t come any more blue-blooded than Tootie. She’s also regularly accompanied by Nancy Wilson’s keyboard player, Llew Matthews, who has also played with legendary jazz giants such as Jackie McLean and Woody Shaw, and the sweet-struttin’ Edwin Livingston on bass.  So Rita is regularly being tested by fire, and she literally dances through the flames with blissful abandon.
.
Earlier this year Ms. Edmond toured Russia, bringing the house down with the late Phil Woods’ protégé, Robert Anchipoloski, and at this writing she’s wrapping up a three month gig at  the luxurious Oriental Hotel in Bangkok, Thailand, where she’s doing her part to show jazz lovers, politicians, and  ambassadors from all over the world what we bring to the table.  She’s also just completed a project with  her good friend and fabulous sax player, Dale Fielder, that’s monstrous. While very contemporary in it’s concept, the quality of musicianship is a throwback to the way the big boys used to do it.

.

Ms. Edmond approaches jazz like she’s been here before; it’s like she walked on stage fresh from 52nd Street. For that reason, whenever I hear her sing it makes my eyes moist, because I can here Ella and Sarah whispering softly in the background, “So ’em how it’s done, baby girl.” And she has a natural musical kinship to Dexter Gordon, whether she’s singing a ballad or swinging, and when you’re as familiar with Dexter Gordon’s music as I am (his family lived two blocks away from my grandparents, and my mother went to Jefferson High School with him), it’s a scary thing to watch. Her approach to phrasing and the feeling she evokes is the exactly the same kind of feeling that Dexter had on his tenor.  I played Dexter for her doing “You’ve Changed,” and she said, “Hey!  He sounds just like me!”  I had to laugh. I told her, “No, baby. You sound like HIM.”

But in spite of her talent, Ms.  Edmond is a very innocent sort whose emotions are always very close to the surface – I think that may be the key to the beauty of her musicianship, but in spite of her unassuming manner, when she picks up a mic someone else emerges.  Just the touch of a mic seems to transform her. It gives her a  tremendous confidence, and a unique sense of individualism that serves to produce a flawless musical delivery – a delivery that seems to say, “There’s a new diva in town,” and I say, it’s about time!
.
PS: Something just happened that made my blood run cold. I didn’t know whether or not it was appropriate to mention it in the context of this article, but it was such a coincident that I feel that I would be remiss if I didn’t say something about it.  As I was writing about the kinship of the music of Dexter Gordon and Rita Edmond, and before I posted, I received a contact. It was from Dexter’s wife, Maxine Gordon (or as Dex would call her, “Lady Gordon”).  She sent me a friend request.  That was one hell of a coincident . . . or was it?

.

More thought provoking articles feel free to visit; The Wattree Chronicle.

.