Tamuz Nissim takes bold turns on “Capturing Clouds”

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Israeli vocalist Tamuz Nissim’s forthcoming album, “Capturing Clouds” is an engaging exercise in vocalese and general jazz artistry. The album is set for release Jan. 6, 2020.

On “Capturing Clouds” Nissim treats listeners to her versions of classics like “On The Sunny Side of the Street” and “Here Comes The Sun.” Both her actual voice, and her use of vocalese, not to mention her phrasing, makes songs listeners have heard for decades sound new again.

About Tamuz Nissim

Born in Tel Aviv to a dancer-choreographer mother and a father who is a writer, Nissim was surrounded by music as her parents also play instruments.

By culture or genetics, Nissim has developed her parents appreciation for classical music and jazz. In 2007, the singer moved to The Netherlands to study music. By 2011, she had earned a bachelors degree in Performing Arts. Her original works were showcased at an Israeli film festival and featured on the compilation recording “Love, Live, Listen 2–The Hague Playlist.”

Nissim works on her jazz skills by performing around Holland. “Capturing Clouds” is her fourth album.

“On The Sunny Side Of The Street” and “Here Comes The Sun” by Tamuz Nissim

Nissim’s approach to “On The Sunny Side Of The Street” finds the singer making the most of her relatively high and light voice. The rumbling bass and shimmery drum gives the song a jazz venue feel. What stands out beautifully though is Nissim’s vocalese. It is both unexpected and unexpectedly fast. The original sentiment is not lost, but Nissim’s style adds to the version she creates here.

It should also be noted that the title track on “Capturing Clouds” is another beautiful song by Nissim. She can do vocalese and ethereal syllables effortlessly, which is a win-win for both singer and audience.

“Here Comes The Sun,” gets an almost folk rock approach. Somehow, Nissim manages to sound a little bit like Sandy Denny, if she had recorded the song. The instrumentation is thoughtful, melodic and string-rich. There is a vulnerability to the performance as at times Nissim is singing without backing musicians. Even for a measure or two, the sparse style allows listeners to focus on Nissim’s voice even more. Then, there is a guitar showcase. Nissim manages to use the original lyrics to springboard her vocalese from. But the passage goes by quickly, and Nissim eases back into the song’s form. The high notes at the end are heartfelt and definitely folk rock-ish.

“Capturing Clouds” sounds as if it is Nissim’s attempt to capture the best she has to offer listeners right now. That she does that with so many unique takes on well-known songs is remarkable.

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Dodie Miller-Gould is a native of Fort Wayne, Indiana who lives in New York City where she studies creative nonfiction at Columbia University. She has BA and MA degrees in English from Indiana University-Purdue University, Fort Wayne, and an MFA in Fiction from Minnesota State University, Mankato. Her research interests include popular music and culture, 1920s jazz, and blues, confessional poetry, and the rhetoric of fiction. She has presented at numerous conferences in rhetoric and composition, and creative writing. Her creative works have appeared in Tenth Muse, Apostrophe, The Flying Island, Scavenger's Newsletter and elsewhere. She has won university-based awards for creative work and literary criticism.

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