Lauren Henderson, Sonidos Review

Lauren Henderson: The Detail and Cultural Resonance of Sonidos

by Sylvannia Garutch

Lauren Henderson’s Sonidos, her latest on Brontosaurus Records, continues the vocalist’s trajectory as one of the most steadily evolving voices in contemporary jazz. Across sixteen tracks, Henderson frames sound itself, “sonido,” as a carrier of her contemporary jazz sound. Drawing on a wide range of music to create an album as conceptually rich as it is musically satisfying.

Recorded at Flux Studios in New York, Sonidos features a first-rate ensemble of vibraphonist Joel Ross, pianist Sullivan Fortner, bassist Dezron Douglas, and drummer Joe Dyson, with Eric Wheeler and percussionist Luisito Quintero contributing on select tracks. This lineup provides Henderson with the rhythmic depth and harmonic elasticity to support her blend of originals and standards. The sound engineering by Daniel Sanint and Bailey Kislak captures the group with clarity and warmth, keeping Henderson’s voice central while allowing the ensemble’s interplay to shine.

Among Henderson’s original compositions, “Vida” stands out for its Afro-Caribbean swing, the Spanish lyrics matched by her warm, resonant tone. Ross delivers a fluid solo with attentive listening from the rhythm section. “Bold” shows Henderson’s swing energy with lyrics urging resilience, while “Luna” offers a graceful, straight eight waltz. “La Llegada,” dedicated to Juneteenth, captures Henderson’s intent most clearly with Afro-Caribbean rhythms interlaced with Latin jazz, bilingual lyrics, and an ensemble performance that moves with attention-grabbing drive.

Henderson’s skill as an interpreter remains central to her artistry. Her version of “Si Nos Dejan,” performed in trio with Fortner and Wheeler, strips the arrangement down to essentials, allowing her warm tonal control to come through. It’s a telling contrast to the larger ensemble settings and demonstrates her command of pacing and dynamic shading. On “Let’s Face the Music and Dance,” Henderson reshapes the familiar Berlin standard with a contemporary jazz feel. “On the Street Where You Live” is a clear example of Henderson’s ability to find freshness in familiar material. Her last chorus is playful and in the swing pocket.

Henderson’s discography has been marked by a steady stream of releases with La Bruja (2022), Conjuring (2023), and Sombras (2024). Each of the albums looks at the jazz heritage from different angles. Sonidos builds on that arc by making sound itself the subject as reflected by heritage. Henderson’s singing is all about clarity, intent, and resonance. She treats the voice as a lead instrument in an ensemble dialogue, shaping the melodies through the harmony rather than dominating it.

Sonidos is an album that balances concept and craft. It offers interpretive detail and cultural resonance. Henderson’s project uses music as a mirror of heritage and a medium of connection.