For real drama though, there's her take on the Cole Porter classic, "So In Love." She smolders with passion. Contrast this with the perky, almost girlish vocal on the original "Bumble Bee," and it is clear that this is a singer who has learned the value of creating vocal character suited to her material. The kind of smoky, off-kilter blues of "Je Vousem Beaucoup," with its strange, off-kilter title is another example. Here she portrays the sultry lounge singer against some nice accompaniment by saxophonist Gary Meek. Rogers and Hart's "Bewitched, Bothered and Bewildered" gets a straightforward, laid-back performance that showcases the singer's vocal purity.
"Go," the Wayne Shorter instrumental which gives the album its title, featuring original lyrics by Joe DeRenzo, has the singer working closely with Meek to create what producer Zink calls a "conversation between Anne's vocals and the solo instrument." He says they were looking to avoid the "disconnect" that sometimes occurs between the voice and the other instruments, and in track after track they have got it right. Soloists and singer work together to create wholes that are even greater than the sums of their already fine parts. The final piece on the CD, Walsh's "Spring's Unfold," is just one last example of this kind of beautiful synchronicity between singer and instrument.
Joining Zink and Meek in the ensemble are bassists Brian Bromberg and Jerry Watts, guitarist Larry Koonse and percussionists Chris Wabich and Tiki Pasillas. There are a number of other soloists who appear on individual tracks, and Walsh herself does background vocals along with Rogerio Jardim, Jonathan Mack and Jim Graft.