Calling - Noa

It is always a pleasure to listen to Noa sing. On this point there is no doubt. Her voice rings clear in every style of music she's attempted - jazz, blues, rock and even classical. But, this album isn't always as easy to listen to as her voice. I'm not saying that she doesn't perform at her best here, quite the opposite. What I'm saying is that the subject matter of a few of the songs on this album are much heavier than any of her previous albums (as well as the three other albums she released after this one - "Achinoam Nini" (mostly Hebrew) released in Israel only, "Blue Touches Blue" and "Noa Now" (both mostly English).

Noa chose to show she can handle more difficult subject matter in this album, including a song called "Mark of Cain" which is about a woman who is pregnant from a rape. (I believe that this song was written after she had heard about the atrocities against women in Bosnia.) While one would expect a song on this subject to be harsh, she instead investigates the torn feelings of the woman - wanting to love a baby growing insider her who also fears that she will see her "oppressor's face" on her child after he is born. This song is a striking jump for her, and I believe she handles it wonderfully.
In the song "Manhattan-Tel Aviv" she again sings of the two cultures that nurtured her. However, rather than focusing on the common positive attractions of these two cities (such as theater, music and art), she points up their equally common violent and hard sides that also dwell in the hearts of such cultural havens. This song has a more rock-like beat to it, pointed up with some interesting - even slightly Yemenite - instrumentals.

And speaking of her Yemenite roots, Noa brings into this album a bit more of the chords and instruments that make up that side of her heritage. For instance, in the song "Too Proud" there are several bridges which have definite Yemenite overtones which flavor the heavier beat of the song.
But not all the songs on this album are heavy. Noa continues to add her jazz abilities to songs like "U.N.I." and "By the Light of the Moon". The songs "Cascading" and "Space" are also upbeat ones, that compliment this album and make it a very well rounded one indeed.

One interesting piece of trivia about this album is the conductor on this album - Simon Hale - better known for his arrangement work on three albums by Jamiroquai (Synkronized 1999, Canned Heat 1999 and Travelling Without Moving 1996). Hale also worked with Jazz artist George Benson, and this experience he obviously also brought to this venue.
Gil Dor continues to sing with Noa on this album, as well as assist in the arrangements and with playing guitar backgrounds (this particular talent could easily give him a stellar career in his own right, if he ever decides to pursue it).

All in all, difficult subject matter aside, this album is truly three-dimensional and a showcase for Noa's abilities. Perhaps this could be considered a "growth" album - one where she is able to look back and learn from it. We all know that memories aren't always sweet, and this comes through in the songs mentioned above. Furthermore, I believe it is the first album where the Pat Metheny influence has been overcome to a point where she has developed a new and unique style of her own.
This album is calling you to give it a listen. Answer that call, and you won't be disappointed. But don't listen while you're busy doing anything else. This is an album to give your full attention to. I'm giving it only four stars since while I love this album, I'm reserving the extra stars for albums of her I like even better.