Kalyn Fay – DORO
This is Native American Fay’s 3rd album. This showcase centers on family & culture (which is different from most singer-songwriter themes). The 10 tracks are presented as DORO (aka: garden/Drops April 3/Horton Records/40:10). The songs delve into challenging yourself, exploring 3 generations of family, remembrance, with atmospheric melodies, country swipes & heritage.
The Tulsa, Oklahoma, Cherokee artist lays down some interesting music. Because of the subject matter, it would be applicable to anyone who is concerned about their own roots. Everyone should know where they came from. Understand the traditions, the culture & history as Ms. Fay aurally displays in her collection.
Kalyn is folky but asserts herself with a mature pop-oriented melodic sensibility that is more middle-of-the-road in tradition. She’s mastered the ability to vocalize superbly with her balladry. Her range is good; her intonation is effective & she has a vocal presence many fine singers lack. They have a “voice” & can sing, but have no personality in their projection. “Family” has variations in tempo & Kayln sings in a snazzy, competent manner.
A wonderfully percussive & melodic performance spills from “Seven,” co-written with Austin-based Dine/Filipino songwriter Sage Nizhoni. A somewhat “epic” concept that explores 7 generations & 7 directions with bright bursts through an ancestral hymn with spirituality woven through the playing. On this, Kalyn reminds me of Panamanian/Filipino singer-songwriter the late Norma Tanega, who also used percussion & melody effectively on her compositions.
“Grandmother” is more harmonic with ethereal vocals. The acoustic guitar’s tethered to both the warmth of a cello & synth swirls. What’s prominent is the contemplative, melodious approach. Each song has intimacy. With “Honeysuckle,” Kalyn moves into a more Joni Mitchell realm. More appealing to an average listener. Her vocal’s compelling, heartwarming & delicate. An excellent voice that’s a little dusty, with a poignant vividness of being called back from somewhere, or by someone. The shift in tempo is appealing.
I didn’t understand a word of “Tsudadatla Tsisqua,” (“Spotted Bird”) sung in Cherokee — but the layered instrumentation & music alone had me. It’s beautiful. Comparisons to Kathleen Edwards escaped me until Kalyn’s “Windsong” breezed into my ears. The most commercially accessible tune is “Cherokee County.” Folky, countrified, danceable & hand-clapping good music with its fine lyrical narrative.
There are 2 Native American quotes to conclude this review appropriately. The first is Chickasaw writer Linda Hogan: “Walking, I am listening to a deeper way. Suddenly, all my ancestors are behind me. Be still, they say. Watch and listen. You are the result of the love of thousands.”
And 1 anonymous Native American quote to remember: “The smile that you send out always returns to you.” That’s what Kalyn’s album is — set to music.
Highlights – “More,” “Family,” “Seven,” “Grandmother,” “Honeysuckle,” “Tsudadatla Tsisqua,” “Windsong,” & “Cherokee County.”
B&W image courtesy of Kalyn’s website. CD @ Barnes & Noble + Vinyl Revival & https://kalynfay.com/
Enjoy our previous coverage here: Video Premiere: Kalyn Fay “Windsong”