A genius on the acoustic double bass as well as a composer and vocalist (in three languages, no less), 24 year-old Esperanza Spalding is already a lecturer at the Berklee College of Music and boasts a string of tours and an album (2006’s Junjo). The word ‘prodigy’ may have been coined for her.

 

Esperanza sees Spalding proving that she’s indeed worthy of the title, in a series of bubbly Latin-infused jazz tunes that demonstrate considerable understanding of the genre and an almost spooky mastery of her instrument. The double bass in Esperanza’s hands absolutely speaks, interplaying with the other sounds on the album to alternately drive and enforce the sprawling compositions. Pianist Leo Genovese, percussionist Jamey Haddad and drummer Otis Brown fill out the rest of the band, providing the perfect accompaniment – particularly Genovese, whose flowing melodies often seem to be daring you to keep up.

 

The Brazillian master Milton Nascimento penned ‘Ponta De Areia’ opens Esperanza, providing a cool introduction, smooth chorus and jingling piano backboned by the ever-twanging double bass. The loungey ‘I Know You Know’ follows, showcasing Spalding’s talent as a skilled, fluid vocalist with a strong presence, and her harmonies bounced off the percussion are delivered with a confidence that never for a moment wanes. Also impressive are ‘I Adore You’, an entirely scat-driven cruisey seven minute opus, and ‘If That’s True’, an expansive track featuring some cheeky interaction between the horns and bassline.

 

There’s even time for the odd ballad, with the intimate ‘Fall In’ and ‘Precious’ well-pitched breaks from the fiery pace of the rest of the album. Here Spalding’s talent as a lyricist also shows through, with some clever world-play in the former track especially beguiling. Esperanza is an album demonstrating a capacity for talent in every facet from its architect, and it’s repeatedly amazing that these compositions have been produced by someone so young. I suppose that’s the definition of prodigy, though.