For “Isadora,” the real Isadora is presented faceless, even mask less, without a body, mindless, a first name and title: the composition and expression of a man with notes to introduce (none of us have ever met her) and notes to add on top of our initial introduction to “Isadora.” The song is not that kinetic: it cannot be danced or even easily hummed along to but it is spiritual, a miracle of spirituality. She is a singer and songwriter but also a visual artist and a cake maker. Isadora in life is named Isadora Mendez Scott and she is Scott’s wife. Christian Scott’s “Isadora”, classical in the way that it especially lets a piano explore the theme “Isadora,” is a 21st century John Coltrane’s “Naima,” warm where Coltrane was resolute, seemingly modern, cibachrome, where Coltrane’s was technicolored. One theme that has been a reason for rhythm, melody, and improvisation has been a Jazz musician’s beloved: “Naima,” “Crepuscule with Nellie,” and the list goes on. It’s been the case since Jazz’s beginnings: the stomps, blues, etc., have always meant to feel like explorative experiences, a theme stretched enough to add improvisation. Most of the time, however, the title of song is the theme of miraculous instrumental playing.
Billy Holiday’s song “Strange Fruit” is such a song.
Sometimes lyrics add themselves to the miracle and when the lyrics are both poetic and coherent, they leave a listener that much more jazzed. At its best, Jazz is a miracle in kinetics and traditionally listened to ourselves as primarily a miracle of rhythm, especially when it comes to Swing, and of melody.
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