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Travelin' Light [2/1] *
 

Travelin' Light [2/1] *

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Travelin' Light [2/1] *
"Travelin' Light [Digipak]" (02/01/2005) Pop Vocal Goodman, Gabrielle, Winter & WinterPersonnel: Gabrielle Goodman (vocals, background vocals); Gabrielle Goodman; Gary Thomas , Gary Thomas (soprano saxophone, tenor saxophone); Michael Cain (piano); Anthony Cox (bass instrument, acoustic bass); Rub?n Rodr¡guez (bass instrument, electric bass); Tony Bunn (electric double bass); Tony Bunn (electric bass); Mark Feldman (vocals, violin); Kevin Eubanks (guitar, acoustic guitar, electric guitar); Wolfgang Muthspiel (guitar, electric guitar); Barry Miles, David Bunn (piano, synthesizer); Mike Cain (piano); Buddy Williams (drums); Don Alias (congas, percussion). Recording information: Power Station Studios, New York, NY (02/1993); Power Station, New York, NY (02/1993). Photographer: Robert Lewis . Arrangers: David Bunn ; Barry Miles. Sounding like a combination of Sarah Vaughan and Chaka Khan seasoned with a dash of Roberta Flack, Gabrielle Goodman is joined by a motley crew of modern musicians, swoops, scats, and whoops through a playlist of standards and originals, one of them by Goodman herself. For the most part, it seems that the arrangements, including those of the standards, are "popularized." That is, they have been designed to be attractive to fans of contemporary popular music. One exception is the Gershwin Brothers' "Someone to Watch Over Me," where Goodman opens the verse with just Kevin Eubanks' subdued guitar (one of few subdued moments on this disc) behind her. Additional instrumentation, especially Gary Thomas' tenor, joins in for a very relaxed chorus. (Thomas and his saxophones are very prominent on this disc.) But on most of the cuts, Goodman's voice soars to the heavens. "Over the Rainbow" becomes a bop aria and on "Travelin' Light" her voice becomes a horn, competing with Thomas' tenor for the dominating position on this tune. Goodman's rendition will not remind anyone of Judy Garland's. The Goodman composed "Manila" is a major production. The pulse is established by drummer Buddy Williams' back beat. Barry Miles' synthesizer weaves in and out with Goodman's voice as she overdubs the background vocals. Clifford Brown's "Blues Walk" flirts with the avant garde, as Goodman sings wordless vocals, Thomas' serendipitous sax wailing with her. This tune, with Goodman and Thomas as a two-person ensemble, is one of the album's highlights. Once more she relies on the laid back guitar of Kevin Eubanks in her thoughtful, emotional offering "Don't Explain," another of the album's strong performances. Many will have to give this album more than a single play before fully appreciating it, but they will assuredly be drawn to Goodman's wide-ranging, unusual but haunting presentation of the music. Travelin' Light will be particularly appreciated by those who prize a singer willing to take some major risks. [The lyrics are fortunately reprinted in the liner notes.] ~ Dave Nathan

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The Ultimate Collection [CD & DVD] [4/5]
 

The Ultimate Collection [CD & DVD] [...

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The Ultimate Collection [CD & DVD] [4/5]
"Gold [Box]" (04/05/2005) Pop Vocal Holiday, Billie, Hip-O RecordsDVD includes rare film and television appearances as well as an audio rehearsal plus audio interviews with Billie Holiday, Billy Eckstine, Jimmy Rowles, Sylvia Syms, Roy Eldridge, Jo Jones, John Hammond and others. Personnel: Billie Holiday (vocals); Louis Armstrong (vocals); Kenny Burrell, Barney Kessel, Mundell Lowe (guitar); Tony Scott , Benny Goodman, Buster Bailey (clarinet); Johnny Hodges, Willie Smith, Benny Carter (alto saxophone); Al Cohn, Lester Young, Paul Quinichette, Ben Webster (tenor saxophone); Frankie Newton, Harry "Sweets" Edison, Roy Eldridge, Billy Butterfield, Bobby Hackett, Buck Clayton, Charlie Shavers (trumpet); Jimmy Rowles (piano, celesta); Eddie Heywood, Oscar Peterson, Teddy Wilson, Wynton Kelly, Bobby Tucker (piano); John Kirby, Ray Brown (double bass); Chico Hamilton, Cozy Cole, Alvin Stoller, Big Sid Catlett (drums); Paul Whiteman & His Orchestra. Liner Note Author: Ashley Kahn. Arrangers: Ray Ellis; Gordon Jenkins; Jimmy Mundy; Sy Oliver. Meticulously selected, lovingly assembled, and beautifully packaged, this two-CD/one-DVD collection is a true retrospective, featuring representative cuts from the length of Billie Holiday's career across a range of labels. While most compilations focus on one period of the legendary singer's career, THE ULTIMATE COLLECTION includes recordings Holiday cut for Decca, Verve, Columbia, Commodore, and others. The backing bands range from small combos to large ensembles, and include such luminaries as Roy Eldridge, Ben Webster, Benny Goodman, Teddy Wilson, Johnny Hodges, Louis Armstrong, and Lester Young. The set begins with Holiday's 1935 Brunswick dates. The chronological arrangement allows the listener to observe the transformation of Holiday's vocal style, from the light, buoyant early work through her definitive '40s middle period and on to her final sessions from the late '50s, when her voice was broken and life-torn. No matter the phase, Holiday's performances are masterful, gripping, and immediately seductive (not to mention--in cases like the 1939 recording of "Strange Fruit"--historically important). The DVD, which features 10 television and film performances, a timeline, and bonus audio features, is almost too good to be believed. Opinions will continue to differ about the "greatest female jazz vocalist," but be warned: THE ULTIMATE COLLECTION might make any case but Lady Day's hard to argue. Although Columbia's LADY DAY: THE BEST OF BILLIE HOLIDAY is one of the finest collections of the revered jazz vocalist's work, Verve's 2005 set, GOLD, is on par with its predecessor. While LADY DAY puts Holiday's peak years (1933-44) into sharp focus, the two-disc GOLD draws from various stages of her career, starting with a handful of mid-to-late-'30s tracks (most notably the giddy "What a Little Moonlight Can Do" and the haunting "Strange Fruit," songs that showcase the polar extremes of Holiday's distinctive and nuanced vocals) and concluding with late-'50s sessions recorded just before her death (including the wonderfully mellow "Body and Soul" and the sad, string-laden "I'm a Fool to Want You"). For a thoughtful, wide-ranging Holiday retrospective, it's tough to beat this excellent compilation.

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Third Stream Music by The Modern Jazz Quartet (CD - 03/19/2002)
 

Third Stream Music by The Modern Jazz Qu...

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Third Stream Music by The Modern Jazz Quartet (CD - 03/19/2002)
"Third Stream Music" (03/19/2002) Jazz Vocal The Modern Jazz Quartet, Wounded Bird RecordsModern Jazz Quartet: Milt Jackson (vibraphone); John Lewis (piano); Percy Heath (bass); Connie Kay (drums). Additional personnel includes: Gunther Schuller (conductor); Jimmy Giuffre (tenor saxophone, clarinet); Jim Hall (guitar); Ralph Pena (bass). Originally released on Atlantic. Personnel: Jim Hall (guitar); Betty Glamann (harp); Gerald Tarack (violin); Joe Tekula (cello); Jimmy Giuffre (clarinet, tenor saxophone); Bill McColl (clarinet); Manuel Zegler (bassoon); Paul Ingraham (French horn); John Richard Lewis (piano); Milt Jackson (vibraphone); Connie Kay (drums). Liner Note Authors: John Wilson ; Max Harrison. Recording information: 08/23/1957-01/15/1960. This Atlantic release has some unusual performances by the Modern Jazz Quartet. Two selections ("Da Capo" and "Fine") combine the MJQ, which is comprised of vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath, and drummer Connie Kay, with the Jimmy Giuffre 3 (Giuffre on clarinet and tenor, with guitarist Jim Hall and bassist Ralph Pena) on "Exposure"; six chamber classical musicians add color, and a pair of other numbers ("Conversation" and the very successful "Sketch") match the MJQ with the Beaux Arts String Quartet. There is plenty of thought-provoking music on this disc even if the idea of creating a third stream between jazz and classical music never came to pass. ~ Scott Yanow

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Julie London in Person at the Americana by Julie London (CD - 03/09/2004)
 

Julie London in Person at the Americana ...

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Julie London in Person at the Americana by Julie London (CD - 03/09/2004)
"Julie London in Person at the Americana" (03/09/2004) Jazz Vocal London, Julie, DRG (USA)Recorded live in 1964. Well into her mid-thirties, Julie London was also well past her commercial prime when she cut this live album for release in 1964. Actually, she had mounted something of a comeback the previous year with the LPs The End of the World and The Wonderful World of Julie London, both of which made the charts for her after a gap of six years from her 1955-1957 commercial heyday, but Julie London, released earlier in 1964, had not charted. London's film work was also at a low ebb; she had not appeared onscreen since 1961's The George Raft Story. But this was all the more reason to emphasize the personal appearance aspect of her career by recording a live album. Cut at the Royal Box of the Americana Hotel in New York City, this LP might as well have come from Las Vegas, since it was a glitzy affair that surrounded the star with a big band and a bevy of backup singers. She borrowed from Judy Garland for "The Trolley Song" (a number largely taken over by the choral accompaniment) and "The Man That Got Away," while her husband Bobby Troup provided his 1941 hit "Daddy" and 1948's "Baby, Baby All the Time," the latter in a medley with "Basin Street Blues" and "St. Louis Woman." London was at her best in the sexy, playful "Daddy," which brought out her personality. One could only imagine that there was a stage show to accompany these numbers that would have made the performance even more compelling, but London was still able to convey her breathy, bluesy charm. By 1964, that charm was coming to seem adult more in the sense of "aging" rather than "provocative," not only because of the singer's advancing years but because she, like everyone in her area of musical entertainment, was being marginalized by the Beatles and their ilk. So, Julie London in Person at the Americana seemed somewhat old-fashioned even on the day it was released. ~ William Ruhlmann

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Sings Jerome Kern Song Book [2/15] *
 

Sings Jerome Kern Song Book [2/15] *

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Sings Jerome Kern Song Book [2/15] *
"Sings the Jerome Kern Song Book [Digipak]" (02/15/2005) Pop Vocal Fitzgerald, Ella, VerveConducted by Nelson Riddle. Personnel: Ella Fitzgerald (vocals); Robert Bain (guitar); Nathan Ross (violin); Ray Kramer (cello); Plas Johnson (tenor saxophone); Shorty Sherock (trumpet); Dick Nash (trombone); Paul Smith (piano); Joe Comfort (bass instrument); Alvin Stoller (drums). Liner Note Authors: Benny Green ; James Gavin. Arranger: Nelson Riddle. THE JEROME KERN SONGBOOK is perhaps not as celebrated as some of Ella Fitzgerald's earlier entries in the Songbook series, like the Duke Ellington and Cole Porter volumes, but it's a magnificent, joyous celebration nonetheless. Recorded in 1963, with Nelson Riddle arranging and conducting the sessions, THE JEROME KERN SONGBOOK has Riddle's typically lush sound and languid tempos, which perfectly suit both Fitzgerald (whose warm, honeyed voice sounds like it was made for Riddle's arrangements) and the sophisticated material. After opening with the standard "Let's Begin," Fitzgerald and Riddle glide through a dozen of Kern's best tunes, including a remarkable reading of perhaps Kern's best-known song, "The Way You Look Tonight." A flirty "You Couldn't Be Cuter" and a sassy "Can't Help Lovin' Dat Man" add variety to the ballad-heavy selection, but it's the romantic gems like "All the Things You Are" that resonate the longest. Ella Fitzgerald is rightfully known for her superb, often-definitive interpretations of Cole Porter, Irving Berlin, Rodgers & Hart, and Gershwin tunes, which are well documented in her SONG BOOK series. The addition of SINGS THE JEROME KERN SONG BOOK to Fitzgerald's discography is welcome. Recorded in 1963, the album presents Fitzgerald's voice as golden as ever. Yet age was beginning to color her singing a bit, and that texture adds a beautiful dimension to songs like the dark "Why Was I Born?" and the yearning "Can't Help Lovin' Dat Man." Fitzgerald's SONG BOOK outings are usually graced by the orchestra and arrangements of Nelson Riddle. Riddle's charts for the JEROME KERN SONG BOOK are typically smart and swinging, with a lush, full sound that balances punch and lyricism. Fitzgerald's ebullient delivery and honey-rich timbre bring out the humor of "A Fine Romance," the wistfulness of "I'm Old Fashioned," and the tender romance of "The Way You Look Tonight," putting her distinctive stamp on each. This set is sure to please fans of Kern and big-band standards. For aficionados of Fitzgerald's other SONG BOOK albums, this is a must.

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The Complete Porgy & Bess [8/9]
 

The Complete Porgy & Bess [8/9]

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The Complete Porgy & Bess [8/9]
"George Gershwin's Porgy and Bess" (08/09/2005) Pop Vocal Gershwin, George, Shout! FactoryPersonnel: Mel Torm?; Duke Ellington, Ernest Newton, Frances Faye, Frank Rosolino, George Kirby , Joe Derise, John Whited, Johnny Hartman, Loulie Jean Norman, Ralph Carmichael, Russell Garcia, Sallie Blair, The Australian Jazz Quintet, The Bethlehem Orchestra, Betty Roch?, Bev Kelly, James Joyce , Pat Moran, Bob Dorough, The Stan Levy Group.

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While The Music Lasts *
 

While The Music Lasts *

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While The Music Lasts *
"While the Music Lasts" (07/13/2004) Country Harris, Jesse (Guitar/Songwrite, Blue Thumb Records (USA)Jesse Harris (Guitar/Songwriter): Jesse Harris (vocals, acoustic guitar, harmonica); Tony Scherr (acoustic guitar, electric guitar, background vocals); Tim Luntzel (piano, bass guitar); Dan Rieser (drums, percussion). Additional personnel: Bill Frisell (electric guitar); Norah Jones (background vocals); Kenny Wollesen. Guitarist Jesse Harris' sophomore solo effort, While the Music Lasts, finds him deviating little from the thoughtful country-jazz style of his first record. Once again featuring the laid-back distorted lead guitar of Tony Scherr, the album is awash in ballads, Latin numbers, and soft rock that fans of Harris have grown accustomed to. While Harris' sensitive-guy persona, dippy lyrics, and slight voice may not appeal to everybody, the music of his band, the Ferdinandos, is tastefully rootsy and marginally edgy, and dresses up Harris' blander qualities nicely. Fans of vocalist and Harris compadre Norah Jones may be slightly disappointed that she only appears here on some background vocals, nice as they are. On the upside, Harris has brought in the big soft-focus guns of fellow guitarist Bill Frisell, who fits perfectly into the twang-jazz vibe on his two tracks. Similarly interesting are Van Dyke Parks' string arrangements peppered throughout the album. ~ Matt Collar

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Raindance
 

Raindance

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Raindance
"Raindance" (10/07/2003) Jazz Vocal Hurt, Kelley, Archer RecordsPersonnel: Kelley Hurt (vocals, background vocals); Art Edmaiston (tenor saxophone); Chris Parker (piano); Doug Garrison (percussion). Audio Mixer: Kevin Houston . Recording information: Archer Records; Ardent Studios, Memphis, TN. Photographer: Larry Kuzniewski. Arrangers: Chris Parker ; Kelley Hurt; Ross Rice.

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Love Songs (2005) [1/11] *
 

Love Songs (2005) [1/11] *

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Love Songs (2005) [1/11] *
"Love Songs [2005]" (01/11/2005) Pop Vocal Horne, Lena, RCA Records (USA)Personnel: Lena Horne (vocals); Lennie Hayton, Artie Shaw & His Orchestra. Arrangers: Lennie Hayton; Marty Paich; Ralph Burns. Jazz vocalist Lena Horne had a spectacularly varied career as a recording artist, club performer, stage actress, and movie star, but her sultry voice and classy phrasing were at the center of all of her work. LOVE SONGS shows off Horne's formidable skills, and includes superb readings of romantic gems from the Great American Songbook, including "Love Me or Leave Me" and ""The Man I Love," and show-tune selections like "People Will Say We're in Love" (from OKLAHOMA!). Horne is backed by an orchestra on most of these selections, but the warmth and intimacy of her vocal performances is never overpowered or diminished. The smoothly swinging "Love Me a Little Little," for example, finds Horne working with Artie Shaw and his orchestra, but the singer's butter-smooth intonations glide right over the instrumental swells. In fact, her voice is so compelling that it makes a beeline through the ear and straight to the heart, an effect that serves the collection's intended purpose.

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Footprints [3/28] *
 

Footprints [3/28] *

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Footprints [3/28] *
"Footprints" (04/18/2006) Pop Vocal Allyson, Karrin, Concord Records (USA)Personnel: Karrin Allyson (vocals, piano, shaker); Karrin Allyson; Bruce Barth (piano, Fender Rhodes piano); Peter Washington (upright bass); Jon Hendricks (vocals, whistling); Nancy King (vocals); Frank Wess (flute, tenor saxophone); Nick Phillips (trumpet); Todd Strait (drums). Audio Mixer: Josiah Gluck. Liner Note Authors: Karrin Allyson; Chris Caswell; Paul De Barros. Recording information: Fantasy Studios, Berkley, CA (09/24/2005-10/18/2005); Sear Sound Studios, New York, NY (09/24/2005-10/18/2005). Photographers: Lisa Stein; Randee Saint Nicholas. Arrangers: Karrin Allyson; Bruce Barth. A fixture on the vocal jazz scene since the early 1990s, Karrin Allyson delivers more spirited scatting and lush balladry on 2006's FOOTPRINTS. Guest vocalists Nancy King and Jon Hendricks play a prominent role throughout, and the number of duets gives the album a distinctive flavor. ("Everybody's Boppin'," a track on which all three appear, is a highlight). Yet FOOTPRINTS is still Allyson's show, with her sophisticated phrasing and smooth tone taking center stage. The album comes recommended to fans of mainstream and contemporary vocal jazz.

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Love Songs [12/28]
 

Love Songs [12/28]

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Love Songs [12/28]
"Love Songs" (12/28/2004) Pop Vocal Vaughan, Sarah, Legacy RecordingsPersonnel: Sarah Vaughan (vocals); George Van Eps, Art Ryerson, Al Caiola, Mundell Lowe (guitar); Verlye Mills (harp); Frederick Buldrini, George Ockner, Julius Schachter, Samuel Carmell, Adam Pratz, David Asch, Eugene Orloff, Sylvan Shulman, Zelly Smirnoff, Howard Kay, E. Anthony Green, Raoul Poliakin (violin); Richard Dickler, Sidney Brecher, Frank Brieff, Isadore Zir (viola); F. Miller & J. Barry, Bernard Greenhouse, Maurice Brown (cello); Leo Kruczek, Solomon Deutsch, Felix Orlewitz, Ralph Hersh, Samuel Rand, Jack Zayde, George Ricci (strings); Tony Scott (clarinet); Russell Banzer, Al Freistadt, Bernard Kaufman, Jimmy Abato (woodwinds, saxophone); E. Ollie Brown (woodwinds); Paul Ricci, Harry Terrill, Henry Roos, Richard Bazner, Al Kloves, J. Odriche, Stanley Webb, Art Drelinger, George Kelly, Harry Lawson , Fred Stuice, R. Banzoc, Leonard Hartman, Nuncio Mondello, Herman Schertzer, Irving Horowitz, Don Lodice, William Versaci, Sid Cooper, Babe Russin, Wolfe Taninbaum, Harold Feldman (saxophone); Budd Johnson (tenor saxophone); Melvin "Red" Solomon, Rubin Zarchy, Frank Fletcher-Beach, Gordon Griffith, Ziggy Elman (trumpet); Allan W. Thompson, John d'Agostino, William J. Schafer, Bob Morrow, Larry Alpeter, Al Godlis, Jack Satterfield, Elmer Smithers, Muni Morrow, Bennie Green , Benny Green (trombone); Milton W. Raskin, Henry Rowland, Robert Kriss, Lou Stein, Stan Freeman (piano); Phil Krauss, William Coles, Norris Shawker, Terry Snyder (drums); Miles Davis, Taft Jordan, Billy Butterfield, Jimmy Maxwell (trumpet); Will Bradley (trombone); Jimmy Jones (piano); J.C. Heard, Nick Fatool (drums). Photographer: Michael Ochs. Arrangers: Joe Lipman; Paul Weston; Percy Faith; Tadd Dameron; Norman Leyden. Sarah Vaughan's sultry, resonant, and technically agile vocals couldn't be more perfectly suited to romantic ballads. Consequently, this addition to Columbia's LOVE SONGS series is one of the best. During her tenure for the label in the late 1940s and early '50s, Vaughan's recordings featured lush orchestral accompaniment and a pop-oriented approach. This set is drawn primarily from that pool, with a program heavy on standards ("The Nearness of You" and "It Might as Well Be Spring"). Vaughan was only in her early 20s when she cut these sides, but her musicianship and command of phrasing are so masterful that they belie her age. Sprinkled among the string-rich crossover material are a few straight-ahead jazz numbers. The languid, winding "Goodnight My Love" and the yearning narrative "East of the Sun (And West of the Moon)," for example, were cut with a small combo that features a young Miles Davis on trumpet. These tracks truly shine, as the understated accompaniment allows the subtleties in Vaughan's melodic explorations to come soaring through. Her technical expertise is matched by the sensuality, longing, and romance that drips from her voice, so that her simmering lyrical intensity can, literally, make one weak in the knees.

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The Songs [1/6] *
 

The Songs [1/6] *

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The Songs [1/6] *
"The Definitive Collection" (01/10/2006) Pop Vocal Simone, Nina, Hip-O RecordsPersonnel: Nina Simone (vocals, piano). Liner Note Author: David Nathan. Recording information: 09/12/1959-??/??/1987. Arrangers: Nina Simone; Stu Phillips; Hal Mooney; Stu Phillips & the Hollyridge Strings; Horace Ott. "... [N]o one compilation could possibly tell the entire Simone story (since she recorded over 30 albums from 1959 to 1993)," admits David Nathan in his liner notes to Hip-O/Verve's hyperbolically titled Nina Simone best-of, The Definitive Collection. He might have added that another difficulty in assembling a Simone compilation is that she recorded for so many different labels, among them Bethlehem, Colpix, Philips, and RCA Victor (and that's just through the early '70s). This makes licensing a nightmare, of course. But reissue label Hip-O is known for its willingness to license extensively, and it has made a brave effort here. Universal Music, the major-label parent company, controls the Philips catalog as well as a 1987 live album, Let It Be Me, that Simone recorded for Verve. But Hip-O has paid to use five tracks originally released on Colpix from Warner, and another three originally released on RCA from BMG, which is a lot of licensing for a 20-track album. And the result, as Nathan claims, is "a great overview" of Simone's career, spanning the years 1959 to 1987 and including a number of her most popular and signature songs in their best-known versions. "Nobody Knows You When You're Down and Out," "Trouble in Mind," "Gin House Blues," "Don't Let Me Be Misunderstood," "I Put a Spell on You," "Do What You Gotta Do," and "To Be Young, Gifted and Black" were all chart singles of one sort or another, and "The Other Woman" and the Simone compositions "Mississippi Goddam" and "Four Women" are songs any listener would expect to hear when attending a Simone concert. The chief flaws of the collection concern omissions and substitutions. The one label not heard from is Bethlehem, and that means there are no selections from 1959's debut album Jazz as Played in an Exclusive Side Street Club. The compilers try to make up for this lack by including re-recordings of "I Loves You Porgy" (a Top 20 hit in the Bethlehem version), "Sugar in My Bowl," and "My Baby Just Cares for Me" (the last later a Top Five hit in Great Britain). Also missing are Simone's hit recordings of the Hair medley "Ain't Got No/I Got Life" and the Bee Gees standard "To Love Somebody." So, this is not the ideal one-disc survey of her career, and certainly not definitive. But it is much better than most. ~ William Ruhlmann

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The Essential Stan Getz: The Getz Songbook by Stan Getz (CD - 10/20/1992)
 

The Essential Stan Getz: The Getz Songbo...

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The Essential Stan Getz: The Getz Songbook by Stan Getz (CD - 10/20/1992)
"The Essential Stan Getz: The Getz Songbook" (10/20/1992) Jazz Vocal Getz, Stan, VerveIncludes liner notes by Benjamin Franklin V. Aside from the rather horrid Bevis & Butthead cartoon rendering on the album cover, this is a tasteful compilation of tenor saxophonist Stan Getz in his mellower mood. Seven of the tracks are ballads, two of those with a big band and strings, while ten are small-group sessions. Also included are three of his premier Brazilian numbers: "Bahia," "Corcovado," and "The Girl from Ipanema" with Astrud and Joao Gilberto. The warm sound of Getz is obviously prominent, even on the three more energetic swingers, including the bopping "Of Thee I Sing." While far from a complete overview of the career of Getz, especially due to the exclusion of his early-years material, this would be an excellent CD with which to cozy up by the fire with your sweetheart and let the music melt into the both of you. ~ Michael G. Nastos

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Changes
 

Changes

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Changes
"Changes" (03/01/2006) Jazz General Chinaza, Nagel HeyerPersonnel: Chinaza (vocals); Sebastian Weiss (piano, Fender Rhodes piano). Audio Mixer: Florian Sommer. Recording information: A-Trane Studio, Berlin, Germany (07/2004-05/2005); Audiocue Tonlabor, Berlin, Germany (07/2004-05/2005).

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Ken Burns Jazz by John Coltrane (CD - 11/07/2000)
 

Ken Burns Jazz by John Coltrane (CD - 11...

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Ken Burns Jazz by John Coltrane (CD - 11/07/2000)
"Ken Burns Jazz" (11/07/2000) Jazz Vocal Coltrane, John, VervePersonnel: John Coltrane (soprano & tenor saxophones, bells); Miles Davis (trumpet); Red Garland, Tommy Flanagan, Wynton Kelly, McCoy Tyner, Duke Ellington (piano); Paul Chambers, Steve Davis, Jimmy Garrison, Aaron Bell (bass); Philly Joe Jones, Art Taylor, Jimmy Cobb, Elvin Jones, Rashied Ali (drums). Compilation producers: Ben Young, Richard Seidel. Recorded between 1956 and 1967. Includes liner notes by Carl Woideck. Digitally remastered by Kevin Reeves (Universal Mastering Studios-East). This is part of the Verve Records Ken Burns JAZZ series. In conjunction with the release of Ken Burns' ten-part, 19-hour epic PBS documentary Jazz, Columbia issued 22 single-disc compilations devoted to jazz's most significant artists, as well as a five-disc historical summary. Since the individual compilations attempt to present balanced overviews of each artist's career, tracks from multiple labels have thankfully been licensed where appropriate. The John Coltrane installment gives equal time to Coltrane's Atlantic and Impulse output. Tracks from the landmark masterpieces Giant Steps, My Favorite Things, and A Love Supreme (among others) help trace the progression of Coltrane's style, from the complex chords and fiery sheets-of-sound approach that marked his early Atlantic albums, to the more extended meditations on less complicated pieces, and through to the free, intensely spiritual feel of his later work. If there's a flaw in the collection, it's that only one track is taken from his post-A Love Supreme period, during which he leaned most heavily toward the avant-garde; thus, Ken Burns Jazz doesn't quite sum up Coltrane's impact on free jazz. But it does offer a concise snapshot of some of Coltrane's most important work, and since the compilation draws from multiple labels, it makes a great introduction to the various phases of his career. ~ Steve Huey

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Quiet Now: Dreamsville
 

Quiet Now: Dreamsville

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Quiet Now: Dreamsville
"Quiet Now: Dreamsville" (01/25/2000) Pop Vocal Vaughan, Sarah, VervePersonnel includes: Sard Vaughan (vocals). Producers: Quincy Jones, Hal Mooney, Bob Shad, Jack Tracy. Compilation producer: Richard Seidel. This is part of Verve's Quiet Now series. Personnel: Sarah Vaughan (vocals). Photographer: Darryl Turner. The Quiet Now compilation series from Verve offers some of its best singers in settings perfect for contemplation or relaxation, and Sarah Vaughan is one of the best subjects for this type of collection. Although they called her Sassy, Vaughan's only peer with the ballad was Billie Holiday, and her voice was equally suited for the quiet torch song ("It Never Entered My Mind," "Smoke Gets in Your Eyes," "Lush Life") or the tender love song ("Someone to Watch over Me," "I've Got a Crush on You," "Embraceable You"). ~ John Bush

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Rhythms & Rhymes by Fay Claassen (CD - 06/03/2003)
 

Rhythms & Rhymes by Fay Claassen (CD...

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Rhythms & Rhymes by Fay Claassen (CD - 06/03/2003)
"Rhythms & Rhymes" (06/03/2003) Jazz Vocal Claassen, Fay, Jazz 'N PulzPersonnel: Fay Claassen (vocals); Steve Davis (trombone); Toots Thielemans (harmonica); Joe Locke (vibraphone, marimba); Kenny Werner (piano); Mike Stern, Freddy Bryant (guitar); Joris Teepe (bass); Gilad (drums, percussion). Personnel: Fay Claassen (vocals); Freddie Bryant (guitar); Mike Stern (electric guitar); Toots Thielemans (harmonica); Steve Davis (trombone); Kenny Werner (piano); Joe Locke (vibraphone, marimba); Gilad (drums, percussion). Audio Mixers: Paul Pouwer; Marc van Roon. Recording information: Manfred Knoop, NJ; Studio LeRoy, Amsterdam, The Netherlands. Arrangers: Williem Friede; Fay Claassen; Joris Teepe; Martin Fondse; Marc van Roon. Contrary to what the more Manhattan-centric individuals in the jazz world would have us believe, European jazz vocalists don't have to record in the Big Apple to be legitimate -- a singer can find plenty of first-class improvisers to work with in places like Stockholm, Paris, Oslo, Copenhagen, and Amsterdam. So even if Fay Claassen had never crossed the Atlantic Ocean and opted to work in Europe exclusively, the Dutch singer would have a lot to be proud of. That said, Claassen did herself a nice favor when she traveled to the New York City/Northern New Jersey area in the early 2000s and recorded her second album, Rhythms and Rhymes, which was released in Holland on the Jazz 'N Pulz label. The American musicians who join Claassen on this CD include, among others, Toots Thielemans, guitarist Mike Stern, pianist Kenny Werner, trombonist Steve Davis, and vibist/marimba player Joe Locke -- an impressive cast, certainly, and one that obviously understands where Claassen is coming from as a singer. Although Claassen swings, she isn't an aggressive or forceful sort of vocalist -- her post-bop outlook is urbane, sophisticated, elegant, and refined. And thankfully, she has sympathetic accompaniment whether she is turning her attention to Jacques Brel's "If You Go Away," Michel Legrand's "Once Upon a Summertime," or Miles Davis' "Seven Steps to Heaven." Claassen sings in perfect English most of the time, although she is equally expressive when she detours into French on Sting's "La Belle Dame Sans Regrets," and Portuguese on Ivan Lins' "Comecar de Novo." Clearly, Rhythms and Rhymes is a solid and memorable document of Claassen's visit to the northeastern United States. ~ Alex Henderson

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