Zoe Mulford
Album: Coyote Wings
Label: Azalea City
Tracks: 12
Website: http://www.zoemulford.com

This American singer-songwriter is still, after four albums, something of a best-kept secret. Although currently still based in the States, her spouse works here in the UK (Manchester), so she makes irregular forays back to these shores on an occasional basis (work that one out if you can!), and plays gigs at folk clubs and festivals wherever she's able. If you're lucky enough to've caught up with Zoë in live performance, you 'll surely have been captivated by her natural and ready command of an audience, her obliging nature, her assured, clear singing voice and her expert guitar and clawhammer banjo playing. And of course, her songwriting - although her stage sets are almost as likely to include a riveting a cappella rendition of an Appalachian ballad as they are a generous helping of her own songs. So why is Zoë not better known?

Perhaps it's her elusiveness, the constant transatlantic tripping. Or perhaps it's that despite a healthy track record of being recognised in awards nominations and song contests across the States, her albums have somehow never reached a wide market or received radio airplay. Certainly, they represent a different experience from that of hearing Zoë live, albeit a complementary one in that her songs are couched in more elaborate instrumental settings which range from folk to pop and jazz, and most convenient points in between, covered expertly by various permutations of the little group of musicians with which she surrounds herself in the studio sessions. In that respect - and this is not meant to sound unkind or in any way a criticism - there's a kind of an impression of "almost too good-sense" about the recorded result.

All necessary elements are present and correct, the instrumental balance is always appealing to the ear and near-ideal, the combination of instrumental timbres exactly judged and appropriate for the songs and the performances lively yet sensibly supportive of Zoë's own musical personality. It might, then, be judged a miracle that the intimacy of Zoë's songs comes across as deftly as it does. In terms of musical arrangement and scoring especially, Zoë's previous three albums have leaned more towards the folk/s-s idiom, with the occasional light-hearted or quirky number betraying a wider showtime sensibility, but her latest, Coyote Wings, finds her branching out even more into jazz and swing as well as pop gestures and more general Americana stylings. None of which is a bad thing of course, and this aspect of her art might bring her some new admirers.

Zoë's vocal versatility is still remarkable, and her mastery of different idioms is both highly persuasive and actually pretty impressive. As indeed is her songwriting, which is as ever carefully, competently crafted, and on this record takes us from characterful vignettes to overheard conversations (Humboldt County) and gentle nostalgia (Pocket Fulla Quarters) through affectionate personal dedications (Sister, Sail and Storm Damage) to down-to-earth philosophies and reality checks (the savvy sure-fire quick-fire neo-rapping title song). Zoë's savvy stance and eager creative energy enables her to make sense of the contemporary world by drawing on approved models from songwriting history. For although Zoë doesn't ever actually sound like any other singer, the listener can't help but call to mind her inspirations and the influences she derives from her peers - like for instance Joni Mitchell (on Pocket Fulla Quarters and When The Coffee's All Gone), Krista Detor (whose Mudshow album was playing in the car while Zoë was experiencing a mellow Sunrise Susquehanna), and interestingly enough, Kirsty McGee (with whom Zoë shares a penchant for the jazzier shades of expression). So come sample Zoë's winning personality and invest in this album - you're unlikely to regret it.

David Kidman