There is something undeniably gutsy about a jazz singer taking on Alice Cooper, but Eric Van Aro has never been one to play it safe. On his latest quartet release, a strictly limited, vinyl only affair recorded live to tape, Van Aro strips away the digital polish of the 21st century to reconnect with the “raw spirit” he has been chasing since his high school days in the late 70s. The result feels intentional, almost stubborn in its refusal to conform, and all the more compelling for it.

The standout surprise is, without question, the jazz swing reimagining of “School’s Out.” With the distorted guitars swapped for sharp piano stabs, a walking double bass, and light, crisp percussion, the quartet transforms a bratty rock anthem into a sophisticated floor filler. It is playful and deeply rhythmic, and it frames Van Aro’s “cool” vocal style in a way that feels both effortless and precise. What could have been a novelty instead lands as a genuine reinterpretation.

The energy shifts beautifully into the second track, a sweeping piano led jazz ballad. It is here that the “no click track, no overdubs” philosophy really reveals its value. You can almost hear the room breathe as the musicians react to one another in real time, leaning into tiny fluctuations in tempo and mood. That sense of presence gives the performance a quiet intensity that studio perfection rarely captures.

A thematic pivot arrives on the third track, digging into a grittier meditation on money, anchored by the repeated line “Money is on my mind.” It adds a touch of weight before Side A closes with a dose of April 1st levity. Through lighthearted “deedle dee” scatting and a tongue in cheek nursery rhyme interpolation, “Roses are red... sugar is sweet and so is maple syrup,” Van Aro reminds us that while the musicianship is serious, the mood does not have to be. That balance between craft and play becomes one of the record’s defining traits.

Side B unfolds as a dynamic up and down journey, moving between tighter, more technical jazz arrangements and looser, vocal led moments. The sequencing feels deliberate, echoing the ebb and flow of a late night club set where moods shift but the atmosphere holds. There is a sense of narrative in how the tracks are placed, as if the listener is being guided through a live experience rather than a static recording.

The album closes on a distinctly retro high point with its final track. It opens with a sparse, almost haunting deep vocal, the kind that feels lifted from a pre war wireless broadcast, before the piano slips in to gently anchor the melody. From there, the piece unfolds with remarkable restraint, never pushing too far or disturbing its own atmosphere. It resolves on a single, resonant piano note that hangs in the air long after the needle lifts, a quiet yet powerful final statement.

Released on April 1st, a date Van Aro associates with his mother first acknowledging his talent, the album feels like a subtle act of defiance against modern perfectionism. For the 100 people who manage to secure a copy, it offers something rare: a veteran artist choosing vulnerability over polish, and trusting that the imperfections are where the truth lives.

Buy the album here: https://shop.tondomusic.com/listings/4075401967

Author: Adam Bailey

Adam is a regular contributor for established press release distribution website Release-News.com. He writes on a wide range of topics including music.