![]() SAL is a strangely romantic, sometimes didactic effort to mold the often private experience of listening and feeling music. The assigned healing properties of each song came from Spalding’s conversations with music therapists and neuroscientists whom she intentionally sought out for a record meant to have a specific healing effect on the listener. Spalding recorded the album over several months this year and created a guide that describes the intended uses and effects of its 12 compositions, sequentially numbered Formwela 1, 2, 3, etc. ![]() Spalding has honed in on a lyricism that is psychologically tougher, less concerned with pleasure, and more aligned with revealing tiers of hurt and how they cling to our bodies. Yet the sinew of her art-making has evolved-a shift audible on her eighth album Songwrights Apothecary Lab, which showcases a musician reluctant to embody any single mode of expression. The bones of her releases still lean on improvisation and sparkling tones. Spalding’s projects have reflected her compulsive need to expand the range of her artistry beyond jazz, and each collaboration reveals an artist invested in both the heart and craft of music. After that largely jazz-rooted recording, the multi-instrumentalist singer/songwriter collaborated with Janelle Monáe, Bruno Mars, and Harry Belafonte while composing and releasing six more albums. ![]() It’s been 15 years since Esperanza Spalding’s auspicious debut Junjo.
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