Review: Tony Hightower | Legacy
Legacy. If you know Tony Hightower, you understand why he titled this treasury of songs. If you don’t, you will come to appreciate his talent. He was weaned on the classics and his selection of songs as well as his writing and arranging speak to his unique understanding of those who came before. He has accepted the torch and is crafting a distinctive voice to tell his stories. Taking his cues from decades of musical history, as you listen, you will hear the influences as he bares his soul to give you an unabashed glimpse into the pleasures and sorrows of his life.
The opening song, written by the legendary Skip Scarborough, was originally recorded in 1973 as You Can’t Hide Love by the California R&B group Creative Source. It would be two years before Maurice White would drop it down to a ballad for Earth, Wind & Fire and garner wider recognition. Now, nearly fifty years later, a new voice gives it a swing arrangement that shows his maturity to introduce a new generation to a classic song with a different beat. It sets the tone for what is to follow.
Swing is always a fun vehicle to begin an album and it speaks to a historical note of the music that a century ago drew dancers to the floor. Tony’s arrangement of Can’t Hide Love takes us in a new direction and gives us those big band horns, adding a sprinkle of background ladies with drum highlights and a bass line driving the music and you have a classic arrangement that sets the tone for what is to follow. The Doll further illuminates his storytelling acuity with this mid-tempo groove about an elegant lady who is in a league of her own. She turns heads, can stop a room, and is the dream of most men. I think at one time Duke and Billy called her Satin Doll. The Don Redman/And Razaf composition Gee Baby takes the third position sans fanfare, slowing down with an easy opening bass line and a bluesy piano as it begs the question, Ain’t I Good To You? Written at the end of the Roaring Twenties, Tony puts the bass again in the center spotlight to assist in setting the mood as he weaves this tale of a young man trying to understand why the expensive trappings combined with his love mean so little to this woman who is obviously looking for things he is incapable of giving.
Rendez Vous stretches Hightower’s voice in falsetto beyond his familiar tenor. It is a bossa nova getaway tribute to a young man’s love for a woman. She has captured his heart and this is where he can escape from the world and lose himself in her arms on the beach in Ipanema. All To The Good takes us to church but not in the tradition. He keeps a mid~tempo beat alive as he opens with a bit of scatting before delving into his homage to the beautiful spirit that was his mother. Taking wing for that celestial residence is only softened by those left behind with memories of times well spent together. It’s ballad time and Plain Jane takes a deep look inside dreams, aspirations and realities that keep one humble and looking towards the future. It’s acceptable to remove the masks we wear and be the plain people whistling along the boulevard. Need You lightens the mood again with an easy beat as a young man does his best to let the lady in his life know how he feels. One can only envision her smiling.
The Gift is a love song of lament. The orchestration brings to mind theme songs and interlude music of many film noir or those black and white television shows of the Fifties and Sixties. The strings add an eerie but comforting ambience as he unfolds his choices and the subsequent outcome. Love & Happy raises the temperature with this remake of the quintessential Al Green/Teenie Hodges composition Love And Happiness that was first released in the UK in 1973, however, America didn’t get the single until 1977. Tony gives us a funky blues swing tempo with those horns blazing that pays tribute to its raw grittiness that was originally expressed.
There are many songs that one should not tackle unless they have truly done their homework. Here’s To Life is one of those seminal songs that has become a modern day jazz standard and an appropriate closer. Composed by Artie Butler with lyrics by Phyllis Molinary, it became Shirley Horne’s signature song and one of my favorites as the title says it all. “No complaints and no regrets, I still believe in chasing dreams and placing bets, I have learned that all you give is all you get, so give it all you got…” As it unfolds you will hear Tony pay his respects and emerge with the mantra he lives by.
If you are hesitant, don’t be. Tony Hightower’s maturity is evident in his lyricism, composing, arranging and delivery. Penning six of the ten selections he presents here, I implore you to pay very close attention to the musicianship of those who accompany him. The music is as much a part of each story as the lyric, for it plays an equally impassioned role in the story. I also encourage you not to disregard his tracking, as it is reminiscent of past producers who created studio albums that were concerts, where you just drop the needle and let it play. This is one of those albums.
To say this young man is on his way to being one of the great storytellers of his generation is by no means an exaggeration. Listen with intent. For us hip audiophiles, we applaud those who defy popular taste for original design. Legacy.
carl anthony | notorious jazz | october 7, 2021
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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.
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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.
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Jack Teagarden was born Weldon Leo Teagarden on August 20, 1905 in Vernon, Texas into a musical family, two brothers, a sister and father all musicians. His father started him on baritone horn but by age seven he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.
By 1920, Teagarden was playing professionally in San Antonio, Texas with the band of pianist Peck Kelley. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. 1927 saw him in New York City where he worked with several bands and by 1928 he was playing with the Ben Pollack band.
In the late 1920s, he recorded with such bandleaders and sidemen as Louis Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, and Eddie Condon. Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams’ “Basin Street Blues”, which in that amended form became one of the numbers that Teagarden played until the end of his days.
Seeking financial security during the Great Depression, Jack signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. In 1946, he joined his lifelong friend Louis Armstrong and his All Stars. In late 1951, he left to again lead his own band.
Suffering from pneumonia, trombonist and singer Jack Teagarden, considered the most innovative jazz trombone stylist of the pre-bebop era, passed away in New Orleans at the age of 58 on January 15, 1964.
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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
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