You know, after reviewing several releases in one day, I had put down my “ink pen” for the evening when I decided to listen to just one more release, the new release from the inimitable Maysa, entitled A Woman In Love…and I was again sitting in front of my PC--with enough motivation to rewrite War & Peace!  Is there no end to this songstress’s magic and knack for what works and what should be the heartbeat of jazz?  As she states, “…this project is classic Maysa. Whether I write new songs or sing old ones, you will get my heart and soul and my very best, every time.”  Maysa fans will shout a huge “AMEN” to that.  This project, so clean, so piercing, so Maysa, and so jazz, is more than enough to get you through any evening, or day, for that matter.
 
I can honestly say that, in my estimation, this is how jazz should be approached, smooth or otherwise. This is, as Maysa herself has termed it, real music.  To the smooth jazz critics,  and even to those who have attempted to play around the edges of the genre in the hopes of being included, even fully knowing they may not be ready, this is the project to which you need to fully listen.  Smooth jazz has begun to embrace more of the classics--but not at the expense of smooth jazz (Joe McBride and Everette Harp come to mind—and now, Maysa).  If I sound a bit biased, it’s only because listening to this absolutely refreshing and fulfilling revival of the music that many had written off is an astounding and very moving experience for me.

No, the ultimate modern woman of song is not just belting out the classics in much the same way as many have done and now calling it a revealing look into the “real” Maysa. No, she crafts and blends a perfect mix of soul, smooth and traditional jazz, and just Maysa to create this new aura for a new era. It is, as she says, classic Maysa; but, there is another dimension to that definition with this release, as she graciously pays homage to the masters of the classics in a way only a true jazz vocalist can present.  Of course, we are also treated to new gems, as well.
 
For starters, listen to the first three soulful and forceful tracks, including the moving duet with Will Downing called “Love Theory” (co-written by Downing and Maysa).  The first track, “Am I Wrong (For Lovin’ You),” opens with her signature scat technique, and then there’s the Theolonius Monk piece, “Round Midnight,” where she simply pours all of that Maysa love and soul all over the tune.
 
In addition to the original movin’, shakin’ mid-tempo “Spend Some Time” (co-written with Chris “Big Dog” Davis), you also have to listen to the smoky, bluesy delivery of the hit “What Are You Doing The Rest of Your Life?” She credits Barbra Streisand with being “a master at singing this song” and says, “The melodic structure is very challenging and it kicked my butt!” Really? No evidence of that here.  Personally, I think she clearly understates her own obvious ability to turn this tune into a wonderful collage of beauty.
 
On the heels of this charmer, she bounces in with the funky and electric title track. Then, turn down the lights and cuddle up tightly on the romantic journey found on her cover of Michael Jackson’s “The Lady In My Life” (with a slight change in the title to reflect her perspective). Her cover of the Ann Ronell standard, “Willow Weep for Me” is simply riveting, as she scats and sways through the piece confidently. Then, there’s her owning the bluesy  “I Put A Spell On You.”  ‘Nuff said.

Every tune here is gleefully laced with Maysa, and Maysa is every tune here. If you think her last release, Metamorphosis, was hot, you need—absolutely need—to hear this album. What more can be said? This is a must-have, and the reasons will be more than clear once you’ve spent a musical moment with this charming production and the experience that is Maysa. --  Ronald Jackson