Vocal jazz is a finicky genre, sitting somewhere between delightfully dorky doo-wop and the smooth instrumentals of a jazz standard. But for Nancy Kelly, it’s easy to just “Be Cool.” The vocalist, who teaches at Cornell University, performs around Western New York, with an upcoming show in Dansville on July 28.
The timbre of Kelly’s voice is weighty like a blanket in winter, and this warmth cuts nicely through upbeat tracks like the first on the album, “Devil May Care.” She tends to accent her phrases with staccato rhythms, which are complemented and juxtaposed by her full, brassy vibrato that pushes through the end of her phrases.
Combined with the confident power in her lower register, the standards on the album feel vibrant but relaxed. Her upper range, in comparison, rings out with a more muted warmth — in her voice, higher notes sound as if they are placed further back. This isn’t to say that there isn’t power in these sections of the melody, but the segments that stand out are often lower and focused on energy.
The slower tracks, such as the titular “Be Cool,” are given this same grounded but sharp approach. While it works in this piece, lighter ballads like “Bésame Mucho” can feel overwhelmed by Kelly’s voice in comparison to the gliding phrasing of original songwriter Consuelo Velázquez.
As a result, the original on the album, “Shakin’ Out My Blues,” is a highlight — it plays exactly to Kelly’s strengths, giving her the opportunity to lean into her “cool cat” energy and call out to the band with ad-libbed flair. It is reminiscent of a jam session and hot latte in the café of your dreams: smooth and pleasant, but not too flashy.
Alyssa Koh is a contributor to CITY.
This article appears in Dec 1-31, 2024.
