Low-Key, Subtle, Inventive Jazz and Parlor Pop From Singer/Pianist Aimee Nolte
Aimee Nolte is best known for her extremely popular youtube jazz piano instructional videos. To her further credit, one of her most interesting videos is on how to play rock piano, a rare art to be sure. After all, you don’t want to clutter a rock song with fussy harmonies: Nolte shows you how.
As an artist herself, Nolte has a clear, direct, uncluttered voice and a fondness for inventive, counterintuitive arrangements. Her album Looking for the Answers is streaming at Spotify. It’s a mix of low-key originals and jazz standards. Nolte is all about subtlety: there’s nothing here that’s going to blow you away, but there are all sorts of clever touches. As a vocalist, she really excels at ballads; as a pianist, she plays with classically-influenced lyricism and remarkable terseness: this music is on the quiet side, but there’s nothing loungey about it.
The balmy woodwind arrangement that opens the album’s first song, The Loveliest Girl, matches Nolte’s calm, warmly unadorned delivery. As the aphoristic narrative about a sunbeam finding its raison d’etre gathers steam, Mike Scott’s gently fingerpicked acoustic guitar enters the picture, followed by bassist Bruce Lett and drummer James Yoshizawa.
There’s a hint of the South in Nolte’s voice and a little Brazil in the album’s title track, a syncopated swing shuffle, Scott’s guitar intermingled within the bandleader’s bright, steady piano. Scott’s long solo really nails that same matter-of-fact, lyrically ratcheting drive.
A samba titled Falling Snow might sound bizarre, but it works as a muted backdrop for Nolte’s tender vocals and some nimbly interwoven guitar/piano exchanges. She sings with a bittersweet resonance throughout This One Hurts, a pensive but catchy solo lament.
Then she picks up the pace with the salsa party anthem I Gotta Get, Lett’s bass prowling around deviously. The plush woodwinds return in Save Me One Last Time, the album’s best and most haunting track, a wounded breakup tale told from the point of view of the instigator.
Nolte recalls Ella Fitzgerald in her stripped-down bass-and-vocal take of Bye Bye Blackbird with a lot of carefree scatting. Her piano follows a mutedly exploratory tangent in a trio version of All Too Soon over Scott’s steady chords.
So In Love is an understatedly joyous return to samba jazz, followed by You Should’ve, a 70s-style Nashville country-pop ballad recast as grey-sky art-song. Nolte closes the record with For a While, a brief, lyrical solo piano ballad.