January 1989

 

The Intriguing Sounds of Jaime Morton

by JHL

To meet Jaimé Morton in person, apart
from her music, is to meet a woman of
contained presence. She is reserved, unas-
suming, and succinct in words. Hand her a
guitar, invite her to sing, and her presence
explodes into a feeling blossom unfolding.

Morton’s music is reminiscent of
Ricki Lee Jones with a soulful difference.
This difference is indicative of the reflec—
tive, self-searchin g of an early Joan Anna-
trading. Yet, J aimé Morton’s music is
uniquely her own.

She incorporates a broad—based use of
style, which makes her music difficult to
categorize. Folk is prominent while a dis-
tinct blues vein runs throughout each song.
She uses an interesting blend of acoustic
jazz and modern folk in her guitar playing.
And the steady, moving rhythm of her
accompaniment would appeal to even the
most die—hard popper. Basically, Morton’s
music has the potential to attract a wide
range of listeners.

Morton’s guitar playing is consistently
strong, energetic, and creative. She uses an

interesting blend of modern chords and her
progressions are mature and varied. Mor-
ton effectively utilizes traditional move-
ments in her music, to create a sound that is
original and intriguing.

Her lyrics reflect tangible experiences
of life and love. Morton easily conveys
analogies of feeling to image, and vice
versa, in real, heartfelt terms. She artfully
links the elements of nature to those of
human nature. There are no catchy line
hooks and few lyrical repetitions. Morton
invites her audience to listen to and connect
with that which is not spoken yet known; a
lover’s smell or sound, the secrets and signs
we hold, and the home of the heart.

Morton’s love songs thankfully devi-

ate from the sappy, flat, and whining rendi— _

tions which overpopulate the airwaves.
“Wolftracks” presents the yeamings and
indignations within the struggle of lost
love. “High Hill” honors the rising of love-
the work of relationship in constant flux.
And, “Something New” is a lusty rejoicing
in the challenges and discovery in found
love.

Away from her love songs, J aimé Mor-
ton offers a broader view of her self-search
and wordly reflections. “Walls Around the
Heart" seems to be the most biting and
wise. Her words are concise, quick to illus-
trate her meaning: “I know a woman with a
wicked tongue/ who frost bit hearts with
unkind words/ of the ones she said she
loved.” Here Morton effectively connects
the inner process of creating walls to that of

- the extemal/political world. She illustrates

an analogy worth thought.

The ultimate calling card for Morton’s
musical prowess is her voice- which may as
well be the ace of spades. Morton is to voice
as Raitt is to slide guitar. Her singing is
gutsy and emotionally raw and if art is
defined ‘as the ability to illicit a feeling
response, Jaime Morton has it in vocal
chords alone. “

 

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Brattleboro, Vermont

COL R

Dancing _
Every Wednesday- Patty Carpentar- Piano/Vocalist

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(802) 254-8646

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