The grace and almost elusive steps come early from Wilson as her voice is a shining example of a jazz musician that can manipulate to almost any situation of sound. Almost as striking as her gorgeous looks, Wilson matches and adapts to the wildly famous Cannonball Adderley who had a persona behind his sound. Not only was he truly fitting as a jazz musician that could almost challenge Wilson and force her to shift to fit his sound, but also have Wilson try to challenge Cannonball as well.
The Self-Titled split is one of the more successful workings of jazz history as the mostly smooth movements are the leading points of the record that leads a horse to water with the opening of “Save Your Love For More”. The grouping is straight as an arrow and leaves little room to the imagination as notes saunter in through what appears to be the supervision of Wilson. Her vocal performance is commanding and the focal point of the Self-Titled piece.
When the track “Happy Talk” begins to flood the frames, the up-beat movements are a welcome change to the often somber-styled and peaceful walk to the midnight shadows and cigarette smoke. Having these often changes within the Self-Titled album is necessary to create a real dichotomy to the vibrations of both Cannonball and Wilson.
As stated before, the two work as a perfect team that can mask the lucid flows of jazz behind approachable short tracks that rely more on creating a focus on vocals rather than instrumentation. There are both the love and break-up tracks, the forgiveness and the endlessness that only the real depth of a jazz fusion working can put together in a Frankenstein monster of true love.