Review: Ernest Coleman | Her Eyes At Sunset
The title Her Eyes At Sunset ambiguously defines the listener’s journey. At first glance, Mr. Coleman’s choice of tunes appears to be indiscriminate, however, upon closer inspection one finds a carefully crafted playlist to delight the ear.
Ernest’s point of embarkation is a driving tempo with the title theme from the 1948 film The Night Has a Thousand Eyes, and yet, it is not surprising that he follows with the Gershwin’s They Can’t Take That Away From Me from the 1937 Astaire/Rogers vehicle Shall We Dance, done refreshingly as a quiet ballad. Combining the Latin rhythms of Jobim’s Waters of March, Romero’s Quinta Anauco and his original title track with the delivery of Chantae Cann on Estrada Branca is a happy madness.
The arrangement of Blue In Green is unprecedented as is the well-executed bass on the Bricusse/Newley composition Pure Imagination. If homework is a prerequisite for testing the musicianship of this excellent assemblage of players and voices, this project raises the bar of the listening experience, and thus, is no stranger to my Serenade To The City playlist.
carl anthony |serenade to the city | jazz 91.9fm wclk | july 28, 2011
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Review: Kathleen Bertrand | Katharsis
In many ways the task of the music critic is anything but easy. We tediously wade through the multitudes that dub themselves singers, seeking storytellers who transport us to new and exciting destinations. To truly hear music, we must divorce prejudices and likes, and in doing so, permit the customary to wane to make way for nuance and subtlety.
As our collective musical tastes evolve, we constantly anticipate the arrival of fresh and exciting sounds, and to that extent our wait has run its term. Kathleen Bertrand’s latest offering Katharsis lingers between meaningfulness and elation as thoughts about you wrap around her finger, relate grandma’s hands that are stronger than pride and ushers a younger generation of lyricists and composers into the pantheon of the great American songbook.
We are blessed to be in the presence of a vocalist who understands interpretation, not only of classic songs and original compositions but is also equally adept at hearing orchestration and arrangement. Without too much fanfare or divulging too many delights, suffice it to say you will hear the Kathleen Bertrand you have come to know and love in a new light.
As you listen to Katharsis, you will uncover its many moods that tempt you to dance, move and realize your own indulgences. Katharsis will not be limited to wonderful, extraordinary, marvelous or exceptional, nor will these words designate it so simply because they are written. These are merely cautionary pronouncements describing the pleasure I received as I drove down the highway on a warm summer night. You, like I, will be challenged to find your own words for this unexpectedly delightful exposé and return hungry for more. Why, you may ask… because it’s what he likes!
carl anthony | notorious jazz | may 24, 2011
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