Laura Cortese’s debut full length CD Into The Dark displays much of the artist’s tremendous versatility and technique on vocals and violin. More importantly, Cortese uses her skills and talents to fill out the wondrous colors and tones around the even higher talent of her songwriting. Buttressing her stories and themes with just the right amount of bowing, Cortese conjures soundscapes that fill the ear with alluring textures while lulling the listener into the world of each song. It doesn’t hurt to have guest musicians like Jocie Adams and Valerie Thompson along for the ride.
A haunting, swaying violin melody pulls the listener right into opening track “For Catherine.” That violin melody makes you feel the story that’s about to unfold and carries you through its poetic description of a young woman struggling with life in the aftermath of rape. A moody cello underneath the violin and vocal carries another thick batch of melodramatic foreshadowing for an even deeper plunge into the emotional content. Cortese’s voice is a lush sweet motion that carries as much glide and tone as her instrumentation.
Title track “Into The Dark” finds Cortese nimbly picking individual notes on her violin to create the distinct motion of someone riding into something unknown and potentially unsafe. Cortese turns up the heat with firmer, deeper, darker melodic lift and increases the sense of motion by varying her tempos and dynamics. This songs feels like a brave journey that entertains as it impresses with its layers of melodic zest.
There is nothing as successful in music as an artist like Cortese who can make you feel the complex emotions of her poetry. “Brown Wrinkled Dress” utilizes Cortese’s beautifully lush susurant of a vocal line to conjure a special feeling of brutal, sudden estrangement. The higher violin melody here dances around a dark moody cello like it’s trying to break free of something that, tragically, won’t ever let it go.
“Village Green” marches along, undaunted, a steadily plucked violin string. Above that line, magic dances and unfurls itself in brief interludes of string instruments. Cortese creates the sense of a busy day in the village as the layered music makes it easy to envision busy footsteps and people going about their way. There are two high melody lines that move around each other gracefully as a haunting cello texture menaces in the background. This tune stays busy with delight.
“Life Is Good Blues,” written by Laura Veirs, is about the party vibe of playing in a band, especially during those moments when each player is in beautiful sync with one another. Cortese makes her violin rock, her driving melodic urgency feeling like something is chasing her. This one is full of life, and it shows more of the violin’s potential as Cortese struts her stuff with frenetic energy and passion.
Cortese shifts gears and mood and encourages her special someone to “Take Your Time.” Her voice is a sweet, delightful glide, rising and descending with smooth finesse. Underneath her is a thick, floating wedge of violin and cello. Brief intervals of melodies suddenly rest then pivot like a dancers in a huge waltz. The singer-songwriter creates a vivid sense and feeling of being able to indulge in one’s leisure.
The traditional song “Train On The Island” tip toes its way through the imagination on the strength of Cortese’s higher pitched melodic near-whistle and the cello that shadows. The artist makes this one her own. She presses out a lilting melody line with her own distinct personality forged into the technique. Her voice is also another shade of beauty in the slopes of sound.
John Beaton’s poem “I Am The House” inspires the force of nature, musical heights Cortese reaches. She clearly felt something powerful when she read these Beaton words. The violinist unleashes her most urgent, emotive melodic line on the album. It’s like Cortese cannot wait to let the feelings come pouring out, and so they explode with joyful sound. Listeners cannot help but get caught up in this whirling dervish.
Cortese continues having fun with arrangements on Sean Staples “Heel To Toe.” Inspired by country hoe downs, jigs and reels, Cortese whips up a sprightly melody and an infectious beat that makes the listener truly want to dance “heel to toe.” Spiraling violin lines can carry listeners away with their lofty, flights of fancy technique.
An old Shaker hymn adapted by John Tams, “Lay Me Low” closes out Cortese’s disc with a pleasant duet of voices and guitar and violin. Her sustains are rich and suspenseful while Jefferson Hamer sings grittily and steady. The contrast brings ebullience to this religious song, and that fullness gives it more meaning, and it makes their words even more meaningful. Accented guitar notes contrast perfectly with the easeful melody she bows. It’s a fulfilling close out to a very fulfilling album.
Laura Cortese is a name to watch on the greater-Boston music scene. Her lyrics always rise to the impressionist and metaphysical level of poetry and her violin melodies cozy up to a listener like an old, comforting friend.
