August 17, 2004 @ 9:00 pm

Jill Scott - Beautifully Human: Words and Sounds Vol. 2 (Hidden Beach)

Letisha Marrero

If the 21st century wants to appoint a musical poet laureate, it’s gotta be Jill Scott.

If the 21st century wants to appoint a musical poet laureate, it’s gotta be Jill Scott. Her platinum, Grammy-nominated debut, Who Is Jill Scott? Words and Sounds Vol. 1, offered deft poetry backed by jazzy, soulful arrangements that blossomed gracefully like bougainvillea on a vine. And now, as other female vocalists substitute belly rings, butt cleavage, and engineering wizardry for musical artistry, Scott elevates the game naturally with the gentle kiss of Beautifully Human: Words and Sounds Vol. 2. Scott is an anomaly, a throwback to the days when jazz chanteuses ruled smoky Harlem speakeasies. Yet she’s both deeply personal and relevantly dope, thriving where poetry slams and hip hop beats collide. Such fusion is exemplified on a track like “Break It Down,” where those two worlds seamlessly blend. Like the venerable Billie Holiday, Scott’s true instrument is in her expressive tones—mutable, malleable, mellifluous. Sure, Alicia’s got her keys, but her vocal chops are chopsticks in comparison with Scott. As the grandest of griots, she imparts tidbits of everyday wisdom. On the spirited lead single, “Golden,” she struts proudly, valuing freedom over bling. On the cautionary street-thug tale “Rasool,” Scott sermonizes like an omniscient Earth sista, while “My Petition” starts off like an innocent plea to a neglectful lover, until she interpolates the national anthem, revealing her disappointment with the country she loves. Just as cleverly, on “Family Reunion”—a Soul Food–like vignette of a dysfunctional clan—she genially narrates a tale of familial foibles washed away by feel-good vibrations. Unlike a Broadway musical, where folks quixotically break into song at a conductor’s cue, Scott sings organically—unearthing the nuanced notes that lie between measured breaths and cadenced words. She has retained the production talents that served her so well on her debut—James Poyser, Ivan “Orthodox” Barias, Carvin Haggins, Dre & Vidal—and they’ve adroitly tailored their arrangements to showcase her talents. Scott doesn’t just ride the beat; she climbs inside it and effortlessly eviscerates it. Over the simple piano chords and mellow drum taps of “Cross My Mind,” Scott speaks to a sexy ex, recalling how he used to get down. On “Whatever,” she expresses the giddy rapture of basking in the sex-funky afterglow, repeating the title in honey-dipped triplets. It’s like eavesdropping on an intimate conversation. There’s a lesson here for R&B nymphets who get their freak on using obtuse metaphors: It is possible to be utterly sensual without being vulgar. Though there isn’t an outright cluster of catchy singles, the album’s most radio-friendly track is “Better at Home,” a passionate manifesto on fidelity (which begs for a remix with Mos Def). But who cares if radio gets it anyway? With Beautifully Human, Scott puts positivity into today’s musical arena—eschewing bitch-and-moan man bashing for compelling rhythms and all-encompassing love songs that resonate in your soul. Pessimists might argue there’s an excess of joie de vivre: After all, if most artists create their best through the pain, where does that leave Scott? Then again, ain’t nuthin’ wrong with feelin’ good. Maybe we’ll leave the Tyrones to Erykah Badu, and let Scott lift our souls, give us hope, and make us think. That’s some kinda beautiful.

Article tags: Jill, Scott, Beautifully, Human, Words, And, Sounds, Vol, 2, Hidden, Beach 

Page printed from:
http://www.vibe.com/music/revolutions/2004/08/jill_scott_beautifully_human_words_sounds_vol_2_hidden_beach/

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