Integriti Reeves
Integriti Reeves releases new LP/Single
Washington D.C.’s Integriti Reeves has a stellar musical and academic résumé at an early age and the wherewithal to become one of the larger figures in the Latin jazz musical scene. Her single “Eu Vim Da Bahia”, translated into English as “I Came From Bahia”, has a heated romantic air, never oppressive or claustrophobic, and unrolls for listeners at a leisurely pace with subtle peaks built into the track. Many of these peak moments are instrumental in nature. The fluid guitar work builds towards low key crescendos within the arrangement and the violin part brings dramatic color to an already vivid song. Make no mistake, however – Reeves brings plenty of memorable moments to this performance as well.
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You get the feeling she can do it all after a single listen. She strikes a sultry note with her voice that never sounds affected and her rhythmic gifts shine bright when she segues from the lyrics into scatting over the musical backing. Her transitions from line to line, verse to verse, never place a foot wrong and she sounds like she’s lived with this song a long time before ever entering the studio for recording. There’s never any feeling of her going on autopilot – she is, instead, with every word from the beginning and has a canny instinct for how much vocal muscle she needs to exert for her audience. There are no histrionics here – just pure, confident singing that will move even the most skeptical.
The music, likewise, doesn’t succumb to histrionics.
The backing musicians on “Eu Vim Da Bahia”, instead, are as intent on crafting a lasting work of musical value as Reeves is. Pay close attention to the guitar playing and you will hear this. The violin solo underlines that commitment. Even the seeming rudimentary nature of the percussion brings an extra dimension to the song, fleshing out its rhythmic structure, and you can hear how apt Reeves responds to its contributions. There isn’t anything hesitant or uncertain about this performance. Instead, Reeves’ performance of “Eu Vim Da Bahia” sounds like she knew exactly what sound she wanted from the moment she entered the studio. The quiet confidence behind her singing reinforces that belief.
The backing musicians on “Eu Vim Da Bahia”, instead, are as intent on crafting a lasting work of musical value as Reeves is. Pay close attention to the guitar playing and you will hear this. The violin solo underlines that commitment. Even the seeming rudimentary nature of the percussion brings an extra dimension to the song, fleshing out its rhythmic structure, and you can hear how apt Reeves responds to its contributions. There isn’t anything hesitant or uncertain about this performance. Instead, Reeves’ performance of “Eu Vim Da Bahia” sounds like she knew exactly what sound she wanted from the moment she entered the studio. The quiet confidence behind her singing reinforces that belief.
She wisely doesn’t overextend or test the song’s limits. Despite crafting a cover with distinct differences from the original, Reeves senses the song’s capabilities from the first note and plays to its merits rather than attempting to remake it into something it isn’t. The production positions the recording in such a way for listeners it is difficult, if not impossible, to ignore its value. Every twist and turn, every slight emotional spike in both the singing and music, lives in this recording and enjoys room to move and breathe. This single release from Integriti Reeves’ debut EP Stairway to the Stars will hit its mark with genre devotees, but even those unfamiliar with Latin jazz will find themselves charmed by its artistry. It’s the first, but definitely not the last, major step in the career of an artist who deserves widespread attention and acclaim.
Trace Whittaker
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Newcastle-upon-Tyne
7/2019
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