Short Tracks: Jo Harrop - ‘The Path Of A Tears’

Out now on Lateralize Records, Jo Harrop’s ‘The Path Of A Tear’ combines her wonderfully emotive vocals with her dazzling song-craft to produce an album more than the sum of its parts. The album, produced by noted producer Larry Klein, has eight originals from Harrop and three diverse covers. The album, her fourth release, shines with the Jo Harrop/Ian Barter original, “Beautiful Fools.” The listener is instantly struck by Harrop’s smokey delivery and restrained power. Guitarist Anthony Wilson’s intro lines are understatedly elegant, perfectly supporting Harrop’s tribute to lovers. The core band, featuring Jim Cox on keyboards, Victor Indrizzo on drums, and David Piltch on bass, is an empathetic group who do not waste a note. Klein, who contributes electric bass on the lead-off track, the Leonard Cohen song, “Traveling Light,” and the CD bonus, “Stay Here Tonight,” creates a setting that allows Harrop to flourish. Engineer Adam “Atom” Greenspan and mastering engineer Bernie Grundman reassert why they are also the first call for their expertise.

“Traveling Light,” A Leonard Cohen song from 2016’s You Want It Darker, flows with ease in Harrop’s hands while retaining a hint of foreboding. “The Path of A Tear ( Le Chemin D’Une Larme), co-written by Harrop and guitarist Greg Soussan, finds the band in full flight with evocative Jim Cox piano and subtle yet distinctive guitar work by Wilson supporting Harrop’s elegant vocals. The title track’s subject matter, a story of lost and rediscovered love, is expertly conveyed by Harrop and her band. “Goodbye” is a wonderful, inventive interpretation of Steve Earle’s original with its slow, train-like rhythm propelled by Indrizzo and Piltich’s slinky double bass. Harrop’s smoky delivery adds a new dimension to the original song, but it is certainly welcome. The bonus track, “Stay Here Tonight,” which features Klein on electric bass and Jim Cox’s prominent Fender Rhodes almost seems like an afterthought. It’s not that the song isn’t strong; it is, but it deserves to be as prominently featured as any of the covers on the album. In the end, Jo Harrop’s compositional skills are as stellar as her vocal talents. Add all this together, and you have one of the best jazz releases of 2024.