Meryl Zimmerman • Easy to Love

For the first time in my life, I’m actually in a jazz band. I should caveat that claim by saying that my maybe-bandmates haven’t yet heard me play so, by the time you read this, it may no longer be true. Still, I’ve got myself a portable piano and I’m learning how to comp—and albums like this one are proving an invaluable inspiration.

I’m talking about Easy To Love, the latest offering from Hal Smith and friends, featuring vocalist Meryl Zimmerman. The Long Island chanteuse has lived in New Orleans for a decade and is, by all accounts, a walking library of popular and lesser-known songs. She has graced the city’s top club stages including Snug Harbor, Tipitina’s and The Spotted Cat, as well as playing both the French Quarter and New Orleans Jazz and Heritage Festivals.

She and drummer Smith are joined on this disc by pianist Kris Tokarski and bassist Nobu Ozaki—both regular collaborators with Hal. It’s a tight combo which treads lightly, backing Zimmerman amply without stealing the spotlight from her. Tokarski playing is of particular interest, and his accompaniment across the disc is like an encyclopedia of technique: from a simple chord-per-bar approach to stride stylings and complex countermelodies, he offers up much to wrap your ears around.

Like the men in a ship’s engine room, Smith and Ozaki keep the record chugging along at a greater or lesser rate of knots without ever venturing above decks, as it were. Neither takes a solo for the entire twelve-track voyage—it would have been nice to hear more of what either man can do. Still, like those ship’s stokers, their contributions are relentless and this vessel would be going nowhere without them.

Zimmerman is the captain here, with Tokarski her bosun. Curiously, she sounds to me older than her years with a slightly quavering voice reminiscent of Masumi Ormandy or Betty Bryant (see particularly “It’s A Lovely Day Today” or “A Ship Without A Sail”). She also ends many lines on an extended tremolo. Now, I’m a firm believer that tremolo—like salt or compliments—is most effective when used sparingly. But while Zimmerman sometimes skirts close to overuse, in my opinion, she never quite crosses that line into tediousness.

This technique—“all a-quiver… always shaking just like a fliver,” as she sings on “Fascinating Rhythm”—works especially well on the several slow ballads featured herein. “Blame It On My Youth,” for instance, is such a tear-jerking rendition that it made me almost impatient for an upbeat number (which here include “Puttin’ On The Ritz” and “Almost Like Being In Love”) to soothe my aching heart.

But then there are other tracks—like ”Everything I’ve Got Belongs To You”—on which Zimmerman’s voice is powerful and smooth, as though an aging crooner has been magically rejuvenated. When using this more youthful tone, she reminds me a bit of Ginger Rogers. It’s refreshing to hear such a versatility of vocal approach on one record—such as one might expect from a singing coach at not one but two NOLA colleges.

Altogether this is a very listenable disc, perfectly produced, which made ideal mood music for a sunny-but-blustery spring walk around town. I’ll definitely be revisiting it in future, for both work and pleasure. Drop in next month to see whether I learned enough to stick in the band. Meanwhile, find Easy to Love on Bandcamp and grab your own copy for just $7 now.

Easy To Love
Meryl Zimmerman
halsmith.bandcamp.com