Kandace Springs attracted Blue Note with a version of "I Can't Make You Love Me," a ballad popularized by
Bonnie Raitt, then covered
Shelby Lynne on
Soul Eyes, and updated "The First Time Ever I Saw Your Face," deeply associated with
Roberta Flack, on
Indigo. Honoring the women who raised her has always been one of
Springs' facets -- she has also evoked other inspirations less obviously with vocal nuances -- but the singer and pianist does it in concentrated form with her third Blue Note album. Like
Soul Eyes,
The Women Who Raised Me was produced by
Larry Klein, who tracked it live with bassist
Scott Colley, drummer
Clarence Penn, and guitarist
Steve Cardenas providing economical and softly luminous core support.
Springs' poised if consistently fiery voice (over her tasteful keyboard work) pays tribute here to singular voices spanning genres and generations, including
Lauryn Hill,
Nina Simone, and Mainstream-era
Carmen McRae, along with the softer-styled likes of
Flack,
Astrud Gilberto, and
Sade. Knowing
Springs' back story, it's a delight to hear an official recording of "I Can't Make You Love Me," enriched with
Avishai Cohen's consoling trumpet.
Springs' own held notes ooze romantic resignation. A few exceptions aside, the song choices aren't adventurous, though
Springs skillfully balances reverence with her individuality, treating even "I Put a Spell on You" and "What Are You Doing the Rest of Your Life" like they're no more worn than anything she has written herself. Among the several featured players, bassist
Christian McBride, who drives "Devil May Care," and flutist Elena Pinderhughes, heard on two of the songs with the strongest hip-hop connections, add the most.
Springs also gets to duet with formative influence
Norah Jones on
Ella Fitzgerald favorite "Angel Eyes," in which the two exchange leads and back one another like longtime play cousins. On the surface,
The Women Who Raised Me might seem like a regression, the kind of project that would have made more sense as an introduction -- especially since
Springs co-wrote some of her debut and almost everything on the follow-up. Only one spin makes it clear that
Springs is in her element, and an increasingly fascinating interpreter. ~ Andy Kellman