Sep 3, 2026 10:44 AM
In Memoriam: Cassandra Wilson, 1955–2026
Cassandra Wilson, a singer, songwriter and producer who was one of the most acclaimed and successful jazz vocalists of…
Zuraitis explores the full gamut of a love affair on The Devil I Knew.
(Photo: Drew Bordeaux)On The Devil I Knew (La Reserve; ★★★★ 77:32), Nicole Zuraitis has written a five-part album that combines many aspects of popular music — jazz, poetry and a few standards — to create a psychologically savvy soundtrack. The songs on the record trace the multifaceted aspects of a dysfunctional love affair, from its beginning to its unsatisfying and somewhat ambivalent conclusion. Her longtime backing trio — drummer Dan Pugach, bassist Sam Weber and guitarist Idan Morim — is augmented by an impressive all-star cast, including Christian McBride on bass and the Budapest Scoring Orchestra.
Zuraitis opens Part I: The Mirror quietly with “Mirror, Mirror,” singing softly and accompanying herself on piano. She muses on the uncertain feelings one has at the beginning of a relationship, closing with Susan Bloomberg reciting the words of Dorothy Parker’s poem, “Unfortunate Coincidence,” as the music fades. McBride’s rolling bass line, the soulful organ of Larry Goldings and stabs from a horn section, give “Won’t Make It Out Alive” a hint of R&B. Zuraitis sings with a jaunty air, describing the excitement she feels going into a hazardous relationship.
She takes the plunge and sings of the dangers and delights of the relationship on “He’s A Demon, He’s A Devil, He’s A Doll,” a hit for Betty Hutton in the ’50s. Zuraitis rewrote some of Don Reye’s original lyrics to give them a modern slant, and sings it playfully, leaving room for McBride to take a mellow solo.
As things begin to fray in Part II: The Martyr, Zuraitis confronts her conflicting emotions. She co-wrote “Wish I Could Love You” with Justine Blazer, Nancy Deckant, Cory Lee Barker and Donna Burk. It’s a song that talks about the end of the relationship and, while she doesn’t want to hurt her lover’s feelings, she has to tell him the truth of her experience. It has the feel of a country song, with a low-key accompaniment of tapping percussion, shimmering guitars and vocals marked by long, anguished notes. The section closes placidly with “A Kiss Is Never A Mistake.” Gilad Hekselman’s laid-back electric guitar backs Zuraitis, as she laments the end of a relationship that she regrets and, also, still longs for.
Part III: The Malediction opens with Jessica DeShong and Meka Nism reciting portions of “A Double Standard,” a poem by Frances Ellen Watkins Harper, that leads into the title track. It’s a ballad that slowly grows more intense. Zuraitis plays piano and sings gently, slipping into a bit of vocalese and melismatic ornamentation, as the track builds to a dynamic conclusion. After a muscular sax solo by Donny McCaslin, the band drops out as Zuraitis speaks in a resigned tone, “When you lose it, you doubt it existed.”
Zuraitis surveys the wreckage of the relationship on Part IV: The Reckoning. She knows that things have reached their conclusion, even though deep feelings remain. “The Hardest Part,” written with her friend Drew Angus, has a hint of Americana in its melody. It features her regular trio, with Pugach’s subtle drumming mimicking the beating of a troubled heart. Zuraitis starts soothingly, gradually raising the volume and intensity of her vocals as she admits: ”Letting go’s the hardest part.”
She shifts her outlook a bit on “Let Us Hang,” a medium-tempo R&B tune written by Steely Dan’s Walter Becker & Larry Klein. Zuraitis sounds upbeat, as she sings about going out on the town for some wine, and maybe a flirtation with someone new. Jon Cowherd’s bright Wurlitzer and an understated horn section drop celebratory notes behind Zuraitis, as she lets out wordless cries of delight.
Although Zuraitis bills Part V as The Requiem, it continues to explore her ambivalence about the end of the relationship. “Back To You” is a ballad, made more somber by the intertwining organ fills of Cowherd and Larry Goldings. Zuraitis sprinkles the lyrics with long, melisma-filled notes, confessing that despite the heartache, she’s willing to run back and resume the connection. She steps away from her personal perspective with the Hoagy Carmichael standard “I Get Along Without You Very Well.” It’s played at a measured pace, with Zuraitis singing in a solemn middle range that emphasizes the ironic lyric. She plays minimal chords on her piano with McBride’s bass and Gilad Hekselman’s guitar adding sparse notes in the background.
“Epilogue” closes the set with Priya Darshini reciting a Sara Teasdale poem, “The Crystal Gazer,” before Zuraitis plays piano and sings: ”Here’s the truth, I’ve answered the dare, for the devil I knew, is still alive, in there.” DB
Ordering info: nicolezmusic.com
Wilson’s ability to connect to audiences helped her to win two Grammy awards and multiple other accolades. She was named an NEA Jazz Master in 2022.
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