Denise Mangiardi’s, On the Brink, her eighth album as a leader, is a breathtaking display of artistry, blending original compositions with timeless classics in a seamless exploration of emotion, mood, and musicianship. She commands attention with her mastery as a vocalist, composer, arranger, and engineer. Each track feels meticulously crafted, offering a rich experience that is both thought-provoking and deeply enjoyable.
The album opens with “The Walk,” a bossa nova that radiates beauty. Mangiardi’s ethereal vocals float effortlessly over lush strings, creating an enchanting atmosphere, enhanced by Luca Boscagin’s delicate acoustic guitar solo and Cindy Scott’s graceful alto flute. It’s a stellar introduction, setting a tone of elegance and emotional depth. The next track, Cole Porter’s classic “Every Time We Say Goodbye,” sees Mangiardi paying homage to the Great American Songbook with a balladic interpretation reminiscent of the late Little Jimmy Scott. Her phrasing is immaculate, and the arrangement by pianist Michael Pellera, enriched by the Louisiana Symphonic Orchestra, elevates the song’s innate melancholy while maintaining a sense of reverence.
The title track, “On the Brink,” takes a darker, cinematic turn. Mangiardi’s original composition showcases her skill for creating atmospheric, noir-inflected soundscapes. Tony DaGradi’s soprano saxophone dances over the brooding piano and bass, blending perfectly with Mangiardi’s evocative vocals. The song is a standout, offering a glimpse into her ability to weave complex emotions into music with precision.
Mangiardi’s voice, high and airy yet capable of surprising depth, carries an innate ability to shift from dreamy whispers to powerful expressions. Her command of pitch and diction is flawless, and her five original compositions shine with lyrical sophistication. Tracks like “Portrait of Lady” bring a haunting, dramatic feel, with echoes and reverberations reminiscent of Bernard Hermann’s cinematic scores. The interplay between Luca Boscagin’s guitar and Arthur Brouns’ electronic textures adds layers of intrigue to this richly produced piece.
“Les Rues of Paris” is a delightful departure into French chanson, where Mangiardi’s perfect French and Emily Mikesell’s warm flugelhorn solo transport the listener to a romantically Parisian setting. The light waltz and Vidacovich’s subtle brushwork add to the charm, making this a standout moment in the album. In contrast, Mangiardi closes the session with a tender and restrained rendition of “In the Wee Small Hours of the Morning,” where she allows the melody and Tony DaGradi’s tenor saxophone to take centre stage, closing the album on a note of reflective grace.
The musicians Mangiardi has assembled are nothing short of exceptional, and their contributions, particularly from the Louisiana Symphonic Orchestra, bring her arrangements to life with precision and beauty. The production is immaculate, showcasing not just Mangiardi’s vocal prowess but her skills as a composer and arranger, reminiscent of greats like Johnny Mandel and Alan Broadbent.
In, On the Brink, Mangiardi offers an album of deep elegance, rich in emotion and musical sophistication. It’s a work that both challenges and rewards the listener, and one that solidifies her position as a masterful artist.
