A foreshadowing of
Pigments took place in 2018 when
Spencer Zahn released an abridged version of "Cyanotype" -- a tranquil, floating piece from his instrumental album
People of the Dawn -- with sorrowful words and vocals added by art-pop whiz
Dawn Richard. The lengthier and from-scratch collaboration here is a progression for both artists.
Zahn is a multi-instrumentalist, composer, producer, and arranger who often cites the
ECM label and
Mark Hollis' self-titled solo album, inspirations that are as evident as ever on
Pigments, particularly with its foundation in near-minimalist chamber jazz, and a sense that
Zahn relates to
Hollis' philosophy of "Don't play one note unless you've got a reason." To paraphrase another sage,
Too $hort,
Richard gets in where she fits in, vocalizing on just over half of the sections within the 37-minute composition. She appears sometimes sylph-like, pushed aloft by gentle coaxing from
Zahn's upright bass and piano. During other moments,
Richard is wholly human, basking in physical intimacy atop lapping drums, entreating through whirls of saxophone and strings, and on the finale, gathering strength over a partly mechanized pulse amplifying her ceaseless determination. Those most drawn to
Richard when she's in high-BPM prancing mode might find it challenging to acclimate to the slow pacing and open spaces (with drums frequently absent). Moreover,
Richard is not so much the primary voice as she is part of an ensemble, sharing the lead role with many of the eight players, such as saxophonist Jas Walton, whose fluttering tenor on highlight "Vantablack," undergirded by bass clarinet and dressed with acoustic guitar, resembles that of
Waterfalls-era
John Klemmer. Only on "Cerulean" does the singer let loose, and it's to confront and grieve ("Are you hurting like you're hurting me?!") with support from needling electric guitar, blasting reeds, and intense swells of electronics and strings. Still, each appearance she makes is halting and deeply felt. Everything provided and guided by her partner coalesces into a quietly powerful flowing sequence.
Pigments is not necessarily built for movement, but it's as moving as any of
Richard's previous output. No other album is quite like it. ~ Andy Kellman