Lukewarm reviews of Molly Hammer’s albums at Plastic Sax incited incensed reactions among friends of the Kansas City vocalist. I’ve repeatedly suggested Hammer’s talent is better suited to sophisticated cabaret standards and brooding torch songs rather than the uptempo jazz that dominates her recordings.
That’s why I’m over the moon about Hammer’s new album I'm Feeling Mellow. Accompanied by guitarist Rod Fleeman and bassist Gerald Spaits, she interprets selections associated with Julie London. By emphasizing her strengths, Hammer made the album I’ve always wanted from her.
London was joined by guitarist Barney Kessel and bassist Ray Leatherwood on her classic 1960 debut Julie Is Her Name. Even though four of I’m Feeling Mellow’s ten tracks mirror the setting of Julie Is Her Name, Hammer’s tribute isn’t a mere facsimile.
Rather than imitating London’s icy and crystalline voice, Hammer invests heartfelt urgency in her scuffed, dented and bruised instrument. The worldly I’m Feeling Mellow is the work of a woman who knows a lot about life.
Fleeman, a musician best known outside Kansas City for his work with Karrin Allyson, plays with his usual tasteful flair. And as he’s done innumerable times for the cabaret star Marilyn Maye, Spaits thoughtfully accentuates the vocals.
I’m Feeling Mellow is the definitive Hammer recording. I’m likely to turn to the album rather than to London’s catalog when I want to hear “Cry Me a River” or “Can’t Help Lovin’ That Man” ten years from now. It’s enormously gratifying to finally give a Hammer album my unqualified endorsement.