Requisites
Devil May Care is the debut album released in 1961 by American jazz vocalist Teri Thornton featuring tracks recorded on December 23, 1960 and January 10, 1961 in New York City for the Riverside label.
>Norman Simmons was the arranger for the sessions that elapsed for 39 minutes and 19 seconds and was produced by Orrin Keepnews.
Track Listing- Lullaby Of The Leaves
- Devil May Care
- Detour Ahead
- The Song Is You
- My Old Flame
- What’s Your Story, Morning Glory
- Dancing In The Dark
- Left Alone
- Blue Champagne
- I Feel A Song Coming On
- What’s New
- Blue Skies
- Teri Thornton – vocals
- Clark Terry – flugelhorn, trumpet
- Britt Woodman – trombone
- Earle Warren – alto saxophone
- Seldon Powell – tenor saxophone
- Wynton Kelly – piano
- Freddie Green (tracks 1, 3, 5, 7, 9 & 12) – guitar
- Sam Herman (tracks 2, 4, 6, 8, 10 & 11) – guitar
- Sam Jones – bass
- Jimmy Cobb – drums
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Requisites
Junjo is the debut album by bassist and vocalist Esperanza Spalding and was recorded on April 6-7, 2005. It wasn’t released until April 2006 on the Spanish label Ayva Music.
The trio features pianist Aruán Ortiz, Francisco Mela on drums and then 22-year-old Spalding on upright bass, providing vocals, often wordless, on all but two tracks. Besides compositions by Jimmy Rowles, Egberto Gismonti and Chick Corea the trio plays originals.
Personnel- Esperanza Spalding – double bass, vocals
- Aruán Ortiz – piano
- Francisco Mela – drums
- “The Peacocks” (Jimmy Rowles) – 7:56
- “Loro” (Egberto Gismonti) – 5:06
- “Humpty Dumpty” (Chick Corea) – 5:51
- “Mompouana” (Aruán Ortiz) – 7:51
- “Perazuán” (Spalding, Ortiz) – 3:38
- “Junjo” (Spalding) – 5:13
- “Cantora de Yala” (G. Leguizamón, M. Castilla) – 4:55
- “Two Bad” (Spalding) – 6:59
- “Perazela” (Francisco Mela, Spalding) – 1:32
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Requisites
Chet Baker Introduces Johnny Pace is an album that was recorded on December 23, 29 & 30, 1958 at the Reeves Sound Studio in New York City. However, it was released in 1959 on the Riverside record label. Orrin Keepnews produced the 36 minute 19 seconds sessions.
The Riverside design team of Paul Bacon, Harris Lewine and Ken Braren joined forces and created a richly colorful strip of type that worked so perfectly with the lush cover portrait of the vocalist. The photograph was taken by Melvin Sokolsky.
Pace was discovered by Chet Baker for this rare and only recording of the singer, who is backed by Baker’s quintet.
Track List: 1. All Or Nothing At All 2. Crazy She Calls Me 3. The Way You Look Tonight 4. This Is Always 5. When The Sun Comes Out 6. What Is There To Say 7. Ev’rything I’ve Got 8. We Could Make Such Beautiful Music Together 9. It Might As Well Be Spring 10. Yesterdays- Recorded on December 23rd (tracks 1, 2 & 9), December 29th (tracks 3 & 5-7) and December 30th (tracks 4, 6 & 8)
- Johnny Pace – vocals
- Chet Baker – trumpet
- Herbie Mann – flute
- Joe Berle – piano
- Vinnie Burke – bass
- Philly Joe Jones – drums
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Review: Vanessa Rubin | The Dream Is You
Bebop is not widely known for its romantics, so many fans and aficionados of the era fell silent to the greatest romanticist of the time: Tadd Dameron. Though he was a part of the bebop scene, his warm, rich harmonies and romantic melodies were more akin to the world of big band, to which he was born, and to modern jazz. It takes a gentle soul to understand the ups and downs of life and love and Dameron was one such soul. This is the realm of music from which this vocalist of equal romantic acumen has selected charts. But be clear, this is just a peek into the extensive vault of compositions left by Mr. Dameron.
To plagiarize a line from the visionary 1966 television show Star Trek, Vanessa Rubin has boldly gone where no woman has gone before, exploring and giving new life to the tapped and untapped compositions of Dameron. So, to merely call this woman a singer does her a great injustice because Ms. Rubin just doesn’t sing a song, she embodies empathy and emotes the lyric. This is an attribute that only a vocalist of her stature can gift an audience. There are no vocal gymnastics to showcase her ego, just an honest and humble purveyance enabling the audience to reminisce personal memories.
Rubin kicks off this swinging set with the Stanley Cornfield lyrics to the sixteen bar Lady Bird, one of the most performed in modern jazz. The first line “we fit together like two birds of a feather” foretells just how deep in the groove Dameron and Rubin are, as well as what the arrangers have done for the lyricist and vocalist, thus giving one an idea of where this small compendium of music is going to take us.
The equally swinging Kitchenette Across The Hall characterizes a chance encounter of those two birds that leads to romance which culminates in marriage and the eventual combining of homes. If You Could See Me Now drops down to ballad tempo and Rubin delivers an honest baring of her own soul in the attempt to recapture lost love. Written in 1946 especially for Sarah Vaughan, with lyrics penned by Carl Sigman, it became one of Vaughan’s signature songs.
We’ve all had those fabulous escapes or little departures from life’s routine and Weekend exalts the memories of a snowy fun-filled Maine getaway. Not prolonged with verbose lyrics but exacting the unabashed pleasures two people spent. The Georgie Fame lyrics swing lightly once again On A Misty Night extolling the beauty and bliss of fleeting love in the night. The easy going Never Been In Love is a mid-tempo lament that every stalwart individual has felt at one time or another in their life, and then, love happens and completely changes the view.
With Next Time Around (Soultrane) she speaks to the end of a love affair, questioning how to move on living with the consequences of yesterday’s choices and hoping to find the answers the next time love happens along. If you’re tempting fate, then there is only one simple piece of advice offered, use Good Bait to catch the object of your desire. Reveries Do Come True (The Dream Is You) is an homage to a woman who has taken hold of his heart. Whatever Possessed Me is another Dameron ballad that confirms the magic of love and all the things that become evident in its unfolding.
You’re A Joy is a simple easy going statement sans flair in which Vanessa expounds the pleasure of being in love. The flute solo is lyrical and inviting the listener into the relationship. I Think I’ll Go Away reminisces the mixed emotions of a lover who realizes the joyful torment her heart undergoes.
I would be remiss if I did not give tribute to Dameron’s contemporaries enlisted by Ms. Rubin who majestically arranged ten of the twelve compositions. They were a part of the bebop era, Frank Foster, Benny Golson, Jimmy Heath, and Willie Smith all knew the man and his sensibilities. And though Bobby Watson came along after Tadd passed away, he comes with an arrangement that clearly understands the sentiment of the man. As usual, in her inimitable style, we are once again graced to witness Vanessa’s lyrical chops as she pens the words to Reveries Do Come True, a topic she knows all too well.
For those of us who are familiar with Ms. Rubin’s catalogue of work there is no surprise in her innate ability to turn a lyric into an emotional surprise. She never ceases to impress me with her facility with each tune, singing with mastery, melody and always with her audience in mind. This is suggestive of the shifting moods and tempos of the composer’s music, thus, there is never a dull moment. While other singers venture into realms and genres of music to stretch themselves, just like the robin the harbinger of springtime, Ms. Rubin stays true to her craft by discovering for the enthusiast unheard gems of jazz. She brings a fresh approach to Mr. Dameron by her choices of his songs to cover, creating a dreamworld for the listener. She weaves a tapestry of love with its many facets of pleasure and suffering, The Dream Is You is less a tribute to Tadd Dameron and more a testament to a loving relationship between vocalist and composer.
carl anthony | notorious jazz | march 26, 2019
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Hollywood To 52nd Street
I Want To Be Happy and Tea For Two are two compositions that received a third set of bows when they appeared in the 1940 Hollywood musical comedy remake of No, No, Nanette. The music was composed by Vincent Youmans, with lyrics by Irving Caesar and Otto Harbach. The film was based first on Frank Mandel’s 1919 Broadway play My Lady Friends, which would become the 1924 Chicago hit play No, No, Nanette before landing on Broadway in 1925. Then in 1930 the play became a film, with its most successful remake in the 1940 film.
The Story: Perky young Nanette attempts to save the marriage of her uncle and aunt by untangling Uncle Jimmy from several innocent but ensnaring flirtations. Attempting one such undoing, Nanette enlists the help of theatrical producer Bill Trainor, who promptly falls in love with her. The same thing happens when artist Tom Gillespie is called upon for help. But soon Uncle Jimmy’s flirtations become too numerous, and Nanette’s romances with Tom and Bill run afoul. Will Uncle Jimmy’s marriage survive, and who will Nanette find happiness with?
The 1940 film starred Anna Neagle, Richard Carlson, Victor Mature, Roland Young, Helen Broderick, ZaSu Pitts, Eve Arden and Billy Gilbert. Supporting cast included Tamara, Stuart Robertson, Dorothea Kent, Aubrey Mather, Mary Gordon and Russell Hicks.
