Hollywood On 52nd Street
Charade is a sad, lonely Parisian waltz composed by Henry Mancini with lyrics by Johnny Mercer for the 1963 film of the same name starring Cary Grant and Audrey Hepburn. Now a classic song getting perpetual jazz encores song and is the theme to this romantic comedy, thriller, mystery film. The supporting cast included Walter Matthau, James Coburn, George Kennedy, Dominique Minot, Ned Glass and Jacques Marin.
The Story: When husband Charles is murdered leaving town, Regina “Reggie” Lampert (Hepburn) is tasked by the CIA administrator Matthau) to deliver the $250,000 in gold that five men stole from the U.S. that was to be delivered to the French Resistance and that her husband double-crossed and took for himself. Insistent that she knows where it is even though she may not know it. In walks Peter Joshua (Grant) to help her move into her apartment and the hunt for the money begins. Reggie falls for Peter, names constantly change, there’s murder and chases through the streets of Paris. They realize the money is in a priceless stamp and this lead up to the discovery of the identity of Carson Dyle and who the government agent is.
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Clairdee was born on November 19th in Tucson, Arizona but was raised in Denver, Colorado. She grew up harmonizing and dancing with her sisters and brothers in a show biz minded family, taking to improvising naturally. She formed a four-part vocal group in high school, but it wasn’t until after college that she focused on jazz.
She listened and learned from pioneering jazz vocalists such as Carmen McRae, Sarah Vaughan and Betty Carter but it was veteran Hammond B3 organist William “Big Daddy” Sailes who took her under his wing and taught her a repertoire of standards and how to develop arrangements to suit her voice.
Moving to the Bay Area in 1986, Clairdee performed various styles of music over the next decade but by the mid 90s settled into jazz working with Eddie Henderson, John Handy, Roland Hanna and Allen Farnham.
Influenced by Shirley Horn, Nancy Wilson, Joe Williams, Johnny Hartman, Billy Eckstine and Nat King Cole she developed a style that made each song she interprets hers, allowing her to stir an emotion. As an educator she conducts master classes around the country and continues to perform and record.
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Sheila Jordan was born Sheila Jeanette Dawson on November 18, 1928 in Detroit, Michigan but grew up in Summerhill, Pennsylvania. By the age of 28 she returned to Detroit and began playing piano and singing semi-professionally in jazz clubs. She worked a trio that composed lyrics to Charlie Parker’s arrangements, who influenced her greatly.
In 1951, she moved to New York and started studying harmony and music theory with Lennie Tristano and Charles Mingus and married pianist Duke Jordan a year later. By the 60s she was gigging and doing session work in Greenwich Village and around town in various clubs; and in 1962 was discovered and recorded by George Russell on his album The Outer View. That led to her recording Portrait of Sheila in 1962 that was sold to Blue Note.
Over the next decade Sheila withdrew from music, supported herself as a legal secretary but by the mid 70s was working again with musicians like Don Heckman, Roswell Rudd, Lee Konitz and Steve Kuhn. She has had a notable career as a solo artist since then with her ability to improvise entire lyrics, although success has been limited.
Jordan has been an Artist In Residence teaching at City College, worked in an advertising agency, recorded for Steeplechase, ECM, Home Eastwind, Grapevine, Palo Alto, Blackhawk and Muse record labels. She has performed and recorded with George Gruntz, Steve Swallow, Carla Bley, Harvie Swartz and Bob Moses among others and as a songwriter continues to work in both bebop and free jazz mediums.
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Julie Lyon was born on November 17, 1969 in Milwaukee, Wisconsin but grew up in Florida where she studied classical voice and received her degree in Vocal Performance from the University of Central Florida.
After college Julie started her musical career singing with different Top-40, Rock, Blues and Country bands until meeting her husband, drummer Tom Cabrera, and then turned to jazz.
Following her passion Lyon has recorded two albums, “Beginning To See The Light” and “ Live: Between Then And Now” and has since become a regular on the Park Avenue scene in Winter Park. An Orlando area staple, she performs regularly at Club Swank, Harvey’s Bistro, Fiddlers Green and The Citrus Club among others.
Pulling up stakes she moved with her husband to New York and continues to perform with her quartet/quintet in jazz clubs and appear at annual festivals. The vocalist and lyricist also composes, arranges and improvises her style through her original and standard catalogue of music.
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Review: Sweet Lu Olutosin | Sweet Lu’s Blues
When pursuing dreams that extend far beyond the horizon of sight, the journey demands unwavering faith. This not only applies to the visionary but to the listener as well. So on a beautiful sunny afternoon I put my ear buds in and settled down with Sweet Lu’s Blues for what I anticipated would be a wonderful adventure in sound and color. From the very first note of Malcolm’s Song I was transported to a “Gay Paris!” street scene with dancers in colorful attire moving provocatively to Sweet Lu’s words.
Then ever so gently he slips into the romance of falling in love every day with the same woman, deftly followed by the promise of the bittersweet side of love in the blues when a man falls hard. Scatting through Call Him Blackjack he easily moves us to drift into the simple pleasures life has to offer to the adventurous. Turning his attention to the Sinatra classic he slows down to interpret Nancy With The Laughing Face and closing the project with the up-tempo of The Baron, a Latin beat under Be My Mamacita and the title track that had me bopping my head and tapping my foot.
I would do grave dishonor if I failed to give praise for the fine aggregation of musicians that comprise the Antonio Ciacca Quintet. Never the understatement, these voices will become familiar compliments to your ear as they place their signature on this project. The arrangements are fun, exciting and surprising with each track and as the title tune came to a close I unabashedly shouted “Applause, Applause!” to Lutalo Olutosin for a vision that unquestionably hit the sweet spot on the mark.
carl anthony | notorious jazz | november 15, 2014
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