The story behind Emerge Dancing, veteran jazz vocalist Suzanne Pittson’s first album in 14 years, is a tearjerking tale of creative triumph over physical adversity worthy of a Lifetime movie. A mainstay on the NYC scene whose discography dates back nearly 30 years, Suzanne began having serious vocal problems ten years ago which made it difficult to sing and teach.
Faced with the prospect of giving up her life’s work, she leaned on her Buddhist practice, voice coach Sophie Lair-Berreby and family and friends to persevere and, dedicating hours during the pandemic downtime to practicing and improvising, emerge with a fresh approach to her art. As she writes in her heartfelt liner notes, “I discovered new ways to express myself, eventually replacing fear and doubt with heartfelt freedom, authenticity and the confidence to be truly in the moment.”
Fans who have been on board since her 1996 debut album Blues and the Abstract Truth will enjoy hearing her unique evolution and ability to overcome via a sonic comparison of the powerful, dynamic way she scales the impossibly jazzy heights of “Blues and the Abstract Truth” – an Oliver Nelson classic featuring lyrics by her husband, pianist Jeff Pittson – on both projects. Her voice is a bit higher, a tad less soulful but no less dazzling and engaging (and even slightly more “showtuney” dramatic) on the new, stripped-down version featuring only Jeff and the Pittson’s son Evan’s passionate viola improvisation.
Yet even if we didn’t know of Suzanne’s personal travails and determination to overcome them, Emerge Dancing would a lovely album to behold, a beautiful family endeavor with inventive harmonies and solos by Jeff – an accomplished sideman in his own right – and Evan’s production and occasional cello touches. Rather than give into whatever vocal limitations she may have compared to her work before her struggles, Suzanne challenges herself, attempting intense runs, scats and high notes that truly transform her artistry. This is never more present than on “You’ve Got a Friend,” which she could have played close to the vest but includes many unexpected, dramatic twists and turns.
Ditto her spritely, swinging twist on Freddie Hubbard’s arrangement of “Without a Song,” something of a callback to her 2010 tribute album Out of the Hub: The Music of Freddie Hubbard. Her choice of material is fascinating throughout, as she puts colorful spins on everything from Paul McCartney’s “Blackbird” and Stevie Wonder’s thought-provoking ballad “The Secret Life of Plants” to a passionate rendering of the exquisite ballad “Love’s The Thing” (originally a Slide Hampton tune titled “Frame for the Blues”) to a sultry, world-wise version of “It All Goes ‘Round and ‘Round,” featuring Jeff’s wafting chromatic harmonica emphasizing her emotional magic.
Suzanne worked diligently and prayerfully to get to this place of rebirth and musical re-emergence. Beyond that narrative though is a truly beautiful collection that harkens well for many more albums in the future.
Suzanne has a heart of gold and deserves this success. She is a unique part of the jazz singing world, in that she is a hardworking teacher and creative developer of jazz educational materials, a great scat singer, a great administrator, and an all-around musically aware person who has delved deeply into harmony.