Daily Dose Of Jazz…

Teddi King was born Theodora King on September 18, 1929 in Boston, Massachusetts. She won a singing competition hosted by Dinah Shore at Boston’s Tributary Theatre, which led to her beginning to work in a touring revue involved with “cheering up the military in the lull between World War II and the Korean conflict. Improving her vocal and piano technique during this time, she first recorded with Nat Pierce in 1949, later recording with the Beryl Booker Trio as well as with several other small groups from 1954–1955. These recordings were available on three albums for Storyville.

She went on to tour with George Shearing for two years beginning in the summer of 1952, and for a time was managed by the famed George Wein. For a time she was a Las Vegas performer. Teddi ultimately signed with RCA, recorded three albums for the label, beginning with 1956’s Bidin’ My Time. She also had some minor chart success with the singles Mr. Wonderful, Married I Can Always Get and Say It Isn’t So. Her critically praised 1959 album All the Kings’ Songs found her interpreting the signature songs of contemporary male singers like Frank Sinatra and Nat King Cole, the “kings” of the title.

In the Sixties she opened the Playboy Club, where she often performed. After developing lupus, she managed to make a brief comeback with a 1977 album featuring Dave McKenna, and with two more albums recorded for Audiophile released posthumously.

Vocalist Teddi King, who was influenced by Lee Wiley, Mildred Bailey and Mabel Mercer, recorded twelve albums as a leader, passed away from lupus on November 18, 1977.

More Posts: bandleader,history,instrumental,jazz,music,vocal

Daily Dose Of Jazz…

Cæcilie Norby was born on September 9, 1964 in Frederiksberg, Denmark, into a musical family, her father a classical composer and her mother an opera singer. She was a founding member of the band Street Beat in 1982 then for two years, she was a member of the jazz-rock band Frontline. From 1985 to 1993, she worked with singer Nina Forsberg in the rock band One~Two. During the 1990s, she turned to jazz and released her first solo album for Blue Note.

Her self~titled debut recording co~produced by Niels Lan Doky featured Scott Robinson, Randy Brecker and  Michael Brecker each played on one track. Doky produced her following album My Corner Of The Sky in 1996, which prominently featured pianists David Kikoski, Joey Calderazzo and Terri Lyne Carrington on drums. The repertoire for both recordings included only a few jazz standards like Summertime or Just One of Those Things, instead she and Lan Doky arranged classic popular songs for a jazz line-up, like Wild Is the Wind, By the Time I Get to Phoenix and a track by Curtis Mayfield on the first album. The Look of Love, Life on Mars, Spinning Wheel and Set Them Free by Sting she recorded on the second.

For both albums Norby wrote lyrics to compositions by Randy Brecker, Chick Corea, Don Grolnick and Wayne Shorter. Both albums gained wide attention and five-digit sales, especially in Denmark and also in Japan.

Her third album Queen of Bad Excuses, released in 1999, was a collaboration with bassist Lars Danielsson, who already played bass on her sophomore release. This time she brought into the studio pianists Ben Besiakov and Lars Jansson, drummers Anders Kjellberg, Per Lindvall, Billy Hart, guitarist John Scofield, saxophonist Hans Ulrik and percussionist Xavier Desandre Navarre. Vocalist Cæcilie Norby continues to advance the music.

More Posts: arranger,composer,history,instrumental,jazz,lyricist,music,vocal

Daily Dose Of Jazz…

Frances Wayne was born Chiarina Francesca Bartocci or Clara Bertocci, on August 26, 1924 in Somerville, Massachusetts. After graduating from Somerville High School she moved to New York City in her teens, where she sang in an ensemble led by her brother, saxophonist Nick Jerret.

Early in the 1940s, she recorded with Charlie Barnet’s big band, and in 1943 sang with Woody Herman’s band. After marrying Neal Hefti, who formed his own big band in 1947, Frances soloed in this ensemble well into the 1950s. She later sang with smaller ensembles, featuring Hank Jones, Milt Hinton, Jerome Richardson, Richie Kamuca, John LaPorta, Billy Bauer, and Al Cohn.

Wayne was the female vocalist on The Woody Herman Show for his radio broadcasts. After a long bout with cancer, vocalist Frances Wayne, best known for her recording of ”Happiness Is Just a Thing Called Joe, passed away in her hometown at age 58 on February 6, 1978.

More Posts: bandleader,history,music,vocals

Requisites

London Calling: A Toast To Julie London ~ Lyn Stanley | By Eddie Carter 

One of the best things I love about jazz is the discovery of old and new songs, classic and new artists, and bands with which I am not familiar. On one occasion, I visited Evolution Home Theater in Buckhead for the Atlanta Audio Club meeting and had the pleasure to meet and hear jazz vocalist Lyn Stanley. She treated the members to selections from her sixth LP, London Calling: A Toast To Julie London (A.T. Music, LLC – ATM 3107), and discussed how the album was recorded. This 2019 two-record release pays homage to the talented actress, jazz, and pop vocalist with other surprises. My copy used in this report is the limited edition, numbered 33 1/3 Stereo audiophile release.

She’s heard here with nine exceptional musicians; Mike Garson (tracks: A1, A2, A4, B1, B4 to C3, D2 to D4), Christian Jacob (tracks: B3, D1) on piano, John Chiodini (tracks: A1, A2, A4, D3) on guitar, Chuck Berghofer (tracks: A3 to B3, C3 to D1, D3), Mike Valerio (tracks: A1, A2, B1, B5 to C4, D2) on double bass, Paul Kreibich (tracks: A1, A2, B1, B4, C1 to C3, D2) on drums, Aaron Serfaty (A1, A2, A4, B1, B3 to D2) on drums, percussion, Luis Conte (track: C1), Brad Dutz (tracks: A1, A2, B1, B3, B4, C1 to C3, D1, D2) on percussion.  What is unique about the album is that each song was recorded only once without any formal arrangements whatsoever, only chord charts with the musical roadmap created by Lyn and the band during the working demo sessions.

Ms. Stanley opens the album with an upbeat rendition of the 1936 song, Goody Goody by Matty Malneck and Johnny Mercer. The lyrics depict a woman getting her revenge on the man who hurt and left her and has now had the tables turned on him. It first appeared on Julie Is Her Name, Volume 2 (1958). Lyn beautifully expresses the song’s lyrics with a lively rendition of the opening and closing melody. Chiodini, Garson, and Valerio also add three spirited concise comments that swing freely. Call Me Irresponsible by Jimmy Van Heusen and Sammy Cahn is from Julie’s LP, The End of The World (1963). This tune shows Lyn is an inspired stylist as she cruises smoothly through the melody with artful simplicity. Chiodini and percussionist Brad Dutz appear at the introduction and finale with Garson, Valerio, and Serfaty providing a solid foundation throughout her presentation.

Bye Bye Blackbird was composed in 1926 by Ray Henderson and Mort Dixon. This song appeared on Julie (1958) and is a slow-tempo duet by Lyn and Chuck. Both vocalist and bassist complement each other in one of the most beautiful renditions I have ever heard. Lyn’s voice is soft and sweet matching Chuck’s bass walking tenderly on a short statement with his sensitive support to her vocals into a tranquil finale. I Heard It Through The Grapevine by Barrett Strong and Norman Whitfield is a Soul classic. It was a hit for Gladys Knight & The Pips on Everybody Needs Love (1967), Smokey Robinson & The Miracles on Special Occasion, and Marvin Gaye on In The Groove (1968). Lyn’s sultry interpretation about hearing a lover’s plan to leave their significant other from someone else is an excellent illustration of how she transforms this straightforward melody into a chillingly unique performance. Chiodini, Garson, Berghofer, and Serfaty provide the slowly rocking beat for her to tell the story.

Side Two starts with a 1928 song from the pen of Irving Berlin, How About Me? Ms. London introduced it on Around Midnight (1960) and the lyrics describe a display of regret and sadness for the loss of someone loved. The tempo moves to a medium beat for Lyn who kicks off the solo sequence with flawless enunciation, followed by Garson and Chiodini who split a perfectly constructed chorus. Cry Me A River by Arthur Hamilton was Julie’s first and biggest hit, making its debut on Julie Is Her Name (1955). It remained her signature song throughout her singing career. Like Ms. London’s version, a trio release featuring Barney Kessel on guitar and Ray Leatherwood on bass, Lyn is accompanied by John and Chuck who are the lush foundation behind her deeply affecting vocals. Chiodini also gives a passionately poignant reading before the trio’s tender climax.

As Time Goes By is songwriter Herman Hupfield’s most well-known composition. It premiered in the Broadway musical, Everybody’s Welcome (1931), but is best known as the song featured in the romantic drama, Casablanca (1942). Julie’s rendition first appeared on Our Fair Lady (1965). The ensemble’s version possesses a Bossa Nova flavor by the musicians and Lyn infuses the lyrics with a cheerfully happy tone, resulting in a delightful vocal interpretation. Christian and John match Ms. Stanley with two mellow statements that move along sprightly off the easy-going drive of Chuck’s bass, Aaron’s drums, and Brad’s percussion.

The first of two vocals of the timeless classic Summertime (1934) by George and Ira Gershwin and DuBose Heyward concludes both records. The song first appeared in the opera, Porgy & Bess (1935). Heyward wrote the lyrics based on his 1925 novel Porgy and it is sung as a mother’s lullaby to her baby. To date, the standard has over twenty-five thousand recordings. It is beloved by jazz musicians and vocalists worldwide and considered one of the greatest songs ever written. Julie sang it on Feelin’ Good (1965). Lyn and the quintet preserve the spirit of the song as a seductive slow tempo southern styled blues and her delivery of the lyrics are alluringly tender and expressive. John and Chuck take the spotlight, leading the quintet through one enchanting chorus preceding the bewitchingly beautiful ending.

Side Three starts with the Latin pop song It’s Impossible by Mexican songwriter Armando Manzanero who recorded it under the original title Somos Novios for his album, Somos Novios…Siempre Novios (1968). It was composed as an instrumental ballad. American composer and songwriter Sid Wayne added English lyrics two years later and it became a huge hit for Perry Como as the title tune of his album (1970). Lyn presents the lyrics with tender beauty and warmth while serenaded by Chiodini who plays a Spanish guitar and has a gentle solo as well. Berghofer and percussionists Conte and Serfaty provide the lush background behind Ms. Stanley’s delicate delivery.

Richard Rodgers and Lorenz Hart’s popular song Blue Moon (1934) was composed as The Bad In Every Man for the crime film, Manhattan Melodrama with different lyrics. After the film’s premiere, Hart eventually wrote more romantic lyrics for the song, and it has been a successful standard since two 1949 hit records by Billy Eckstine and Mel Tormé. Blue Moon opens Julie’s album, Julie Is Her Name, Volume 2 and in the version presented here, Lyn sings the lyrics sensuously at a slower tempo than Ms. London, blending superbly with John who provides a marvelous interpretation enhancing one of the prettiest tunes on the album.

George and Ira Gershwin contribute another jazz classic with Lyn’s version of I’ve Got A Crush On You. This song appeared in two different Broadway musicals, Treasure Girl (1928) and Strike Up The Band (1930). The vocal became a standard after renditions by Ella Fitzgerald, Frank Sinatra, and Sarah Vaughan. Ms. London featured it on Nice Girls Don’t Stay For Breakfast (1967). Lyn captures the melody perfectly with a warm, sincere interpretation and the song is perfect for couples to slow dance to. Chiodini answers her vocals with an impressive chorus backed by Garson, Berghofer, Kreitbich, and Serfaty preceding an intimately romantic conclusion.

Light My Fire was the first huge hit for the American Rock band, The Doors, first appearing on their debut release (1967). The song was a collaborative effort by Jim Morrison, Ray Manzarek, Robby Kreiger, and John Densmore. It appeared on Julie’s final studio album of Pop and Rock songs, Yummy, Yummy, Yummy (1969)! Lyn’s sultry voice caresses each word of the lyric with sensuous pleasure to John’s Flamenco flavored guitar playing, Aaron’s incredibly perfect percussion work, and Mike’s passionately powerful piano cascades that speak voluptuously.

Sway by Norman Gimbel and Pablo Beltran Ruiz appeared on Julie London Sings Latin In a Satin Mood (1963). The rhythm section’s gentle beat serves as a backdrop through the seductively, poignant introduction. Lyn’s tender, expressive opening, and closing vocals are immensely touching as Chiodini’s thoughtfully constructed reading of velvety-soft phrases. Lyn treats us to two beautiful melodies next; Go Slow by Debbie Kronck and Russell Garcia which appeared on Julie’s album, Make Love To Me (1957) and Nice Girls Don’t Stay For Breakfast by Bobby Troup and Jerome Leshay!

On the first tune, her bewitchingly lusty lyrics are the spark for a romantic evening ahead with the assistance of Chiodini, Serfaty, and Dutz who provide the gentle rhythm as she sings. Mike Valerio’s bass sets the mood perfectly for Lyn’s swinging interpretation of the second song’s lyrics illustrating her skillful phrasing into a subtle climax. You, The Night and The Music by Arthur Schwartz and Howard Dietz, premiered in the Broadway musical comedy, Revenge With Music (1934). Julie sang this timeless standard on her album, Around Midnight (1960). Lyn paints a compelling portrait of the lyrics as a Tango, making it her own with a unique delivery to a superbly done danceable beat. Garson matches the vocalist with an exquisite contribution sustained by the rhythm section’s rich accompaniment.

Ev’ry Time We Say Goodbye (1944) is one of Cole Porter’s most beautiful compositions from The Great American Songbook. It first appeared in Billy Rose’s musical revue Seven Lively Acts. This is a trio number with Lyn opening with an enchantingly vocal presentation possessing a deep romantic affection for the lyrics. Her bandmates Chiodini has a voluptuously gorgeous guitar solo and Berghofer matches the delicate softness of her tone with a tender bass beat, resulting in a stunningly perfect rendition. The finale is the second version of Summertime, this time a duet with Lyn and Mike. This tune opens with the pianist’s very pretty introduction capturing the beauty and sensitivity of the song into Lyn’s vocals which weaves a spell of love and intimacy in a style distinctively her own, completing the stories she and her colleagues tell so convincingly.

Lyn and John Chiodini produced the album and the men responsible for the excellent engineering on all the songs except It’s Impossible are Rouble Kapoor and Steve Genewick. Spencer Garcia was the engineer on It’s Impossible. The mastering is by Bernie Grundman of Bernie Grundman Mastering. Allen Sides of Ocean Way Recording is the mixing engineer, and the record was pressed at RTI (Record Technology Incorporated). The sound quality is stunning with a very realistic soundstage of Lyn’s vocals and the musicians’ instruments. If you have a mid-fi or high-end audio system, the music emerges from your speakers vibrantly transporting you into the studio alongside Lyn and the musicians.

Now that I have had the pleasure of hearing Lyn Stanley, I look forward to picking up the other albums in her discography. London Calling: A Toast To Julie London is a record that has it all, superb vocals, engaging compositions, excellent musicians, and a great sound that should be heard in its entirety to be fully appreciated. For those in search of fine jazz singing, I offer for your consideration London Calling: A Toast To Julie London by Lyn Stanley. A great collection of standards and abundant music for the money that once heard should earn her lots of new fans!

~ Around Midnight (Liberty LRP 3164/LST-7164), Everybody Needs Love (Tamla SM-706/SS-706), Feelin’ Good (Liberty LRP-3416/LST-7416), In The Groove (Tamla T-285/TS-285), Julie (Liberty LRP 3096/LST 7004), Julie Is Her Name (Liberty LRP 3066/LST 7027), Julie Is Her Name, Volume 2 (Liberty LRP 3100/LST 7100), Julie London Sings Latin In a Satin Mood (Liberty LRP-3278/LST-7278), Make Love To Me (Liberty LRP 3060/LST-7060), Nice Girls Don’t Stay For Breakfast (Liberty LRP-3493/LST-7493), Our Fair Lady (Liberty LRP 3392/LST-7392), Special Occasion (Tamla S-290/TS-290), Somos Novios…Siempre Novios (RCA Victor MKL-1785/MKS-1785), The Doors (Elektra EKL-4007/EKS-74007), The End of The World (Liberty LRP-3100/LST-7300), Yummy, Yummy, Yummy (Liberty LST-7609) – Source: Discogs.com

~ As Time Goes By, Blue Moon, Bye Bye Blackbird, Ev’ry Time We Say Goodbye, Summertime, You, The Night and The Music – Source: JazzStandards.com ~ Call Me Irresponsible, Cry Me a River, Goody Goody, How About Me, I Heard It Through The Grapevine, It’s Impossible, I’ve Got a Crush on You, Light My Fire, Sway – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,vocal

The Quarantined Jazz Voyager

The Delta variant is causing a rise in new cases of Covid~19 and is much easier to contract. The modus operandi of the day is continuing my exercise of social distancing, quarantining myself at home and wearing my mask whenever I am in public places. I hope you are doing the same.

I offer up my latest selection is the tenth album and sixth on Concord from Nnenna Freelon. It is her 2005 album Blueprint Of A Lady: Sketches Of Billie Holiday. It was her tribute to the late great vocalist. The album was recorded March~April 2005 at the Fantasy Studio in Berkeley, California, and released on the Concord Jazz label that same year.

Though her arrangements may not reflect the melodies we are historically familiar with, Freelon has an inimitable way of taking us on a journey that brings her own sensibilities to interpret these songs with refreshing renditions that may appeal to old fans and hopefully garner new enthusiasts.

Track Listing | 1:02:46

1. I Didn’t Know What Time It Was (Lorenz Hart, Richard Rodgers) ~ 4:18
2. What a Little Moonlight Can Do (Harry M. Woods) ~ 5:13
3. Don’t Explain (Billie Holiday, Arthur Herzog, Jr.) ~ 4:03
4. God Bless the Child (Holiday, Herzog) ~ 5:21
5. Strange Fruit (Abel Meeropol) ~ 2:20
6. Willow Weep For Me (Ann Ronell) ~ 2:52
7. Balm in Gilead (Traditional) ~ 4:49
8. Them There Eyes (Maceo Pinkard, Doris Tauber, William Tracey) ~ 5:09
9. Only You Will Know (Nnenna Freelon, Brandon McCune) ~ 3:41
10. You’ve Changed (Bill Carey, Carl Fischer) ~ 5:24
11.  Now or Never (Billie Holiday, Curtis Reginald Lewis) ~ 2:55
12. Lover Man (Jimmy Davis, Roger (Ram) Ramirez, James Sherman) ~ 4:14
13. Left Alone (Billie Holiday, Mal Waldron) – 5:02
14. Little Brown Bird (Interlude) (Nnenna Freelon, Brandon McCune) ~ 1:32
15. All of Me (Gerald Marks, Seymour Simons) ~ 5:53

• Nnenna Freelon ~ arranger, producer, vocals
• Brandon McCune ~ arranger, fender rhodes, Hammond B3, piano, trumpet
• Beverly Botsford ~ arranger, percussion
• Wayne Batchelor ~ arranger, acoustic bass guitar, acoustic bass
• Kinah Boto ~ drums
• André Bush, Julian Lage ~ guitar
• Doug Lawrence ~ tenor saxophone
• Christian Scott ~ trumpet
• Jessica Ivry ~ cello
• Mary Fettig ~ alto flute, alto saxophone, baritone saxophone, rhythm arrangements
• John Clayton ~ horn arrangements

• Nnenna Freelon/Ed Keane – producer
• Josiah Gluck – engineer, audio engineer, mixing 
• Jesse Nichols – assistant engineer, mixing
• Nick Phillips – audio production, producer
• George Horn – mastering

• Abbey Anna – art direction
• Terri Apanasewicz – hair stylist
• Rudy Calvo – make-up
• Danielle Brancazio – package design
• Randee Saint Nicholas – photography

More Posts: adventure,album,club,genius,jazz,museum,music,preserving,restaurant,travel,vocal