Warm Sounds Abound (Part 1) + Pray for CT

The Northern tier of the United States (in particular the Northern 1/3rd) has had a colder and snowier beginning to 2015, meaning schools are closed once or twice a week, concerts and club dates are often postponed or cancelled, and one spends a great amount of time indoors.  Luckily for music lovers, the beginning to the New Year also a blizzard of new releases.  Over the next several posts, you will read and hear about a number of them,

Amy Cervini, Hilary Gardner, and Melissa Stylianou have a lot of common. They all hail from the northern climes (Ms. C. and Ms. S. from Toronto, Canada, while Ms. G. grew up in Wasilia, Alaska), they all moved to New York City (specifically, the borough of Brooklyn), they have lovely voices, and all record for Anzic Records (in fact, all 3 released excellent CDs in 2014). Somewhere along the line, someone or ones had the brilliant idea the 3 should blend their voices and Duchess was born.  Amy's husband Oded Lev-Ari, who has produced CDs for his wife and Melissa, brought them into the studio, added the talents of Matt Wilson (drums), Paul Sikivie (bass), Michael Cabe (piano), Jeff Lederer (tenor saxophone on 5 tracks) and Jesse Lewis (guitar in 4 tracks), and the result is 13 songs that will make you smile and/or tap your feet.

The 3 chanteuses acknowledge that the major influence for their repertoire is The Boswell Sisters, a vocal trio been and raised in New Orleans who came to fame in the 1930s.  Duchess pays tribute with a rousing rendition of "Heebie Jeebies", a Boyd Atkins the Boswells recorded in 1932. That's the final track - before that, they regale us with songs associated with Peggy Lee, Blossom Dearie, Doris Day, Billie Holiday, and others plus a New Orleans-inspired rendition of "Lollipop", a 1958 "smash for The Chordettes (this version includes splendid drumming from Mr. Wilson and a raucous sax solo.)

The program opens with 2 songs associated with Peggy Lee.  In fact, Ms. Lee wrote the lyrics to "Love Being Here With You", a  crowd-pleaser built off the swinging beat and the friendly banter of the vocalists. That's followed by Fred Fisher's "There Ain't No Sweet Man Worth The Salt of My Tears" (originally recorded in 1928 by Annette Henshaw with the Willard Robison Deep River  Orchestra and then the following year by Bix Beiderbecke with Bing Crosby on the vocal, no less) - Ms. Lee's version was recorded in 1963 and has a blues-rock feel.)  Duchess lean more towards a looser reading of the original. You'll enjoy the sweet love song penned by Ira and George Gershwin; titled "Blah, Blah, Blah" (no, not the Iggy Pop or Ke$ha songs), the lyrics show that sometimes it's easier to show love than to say "I love you." There are sweet ballads in the form of "Que Sera Sera" and "I'll Be Seeing You" plus an emotional take on "P.S. I Love You", the Johnny Mercer-Gordon Jenkins composition from 1934 with features close harmonies and a fine guitar solo from Lewis (an integral part of Ms. Cervini's Jazz Country group). A raucous tenor solo enlivens the playful "It's A Man", a Cy Coben composition recorded by his orchestra supporting the vocal of actress/singer Betty Hutton.

The singer each take the spotlight for one track.  Ms. Gardner swings her way through "My Brooklyn Love Song", a tune composed by George Tibbles and Ramey Idriss.  Ms. Cervini reprises "A Doodlin' Song" from her 2012 tribute to Blossom Dearie "Digging Me, Digging You", replacing the male voices with her sisters and Josh Sinton's baritone sax solo with a playful tenor sax hit from Mr. Lederer (otherwise, the arrangement is the same.)  Ms. Styling revisits "Hummin' to Myself" from 2014's "No Regrets" release and also does not change the earlier (right down to the bass solo) but spices it up with the addition of her friends' lovely harmonies.

Sassy, sweet, fun, playful, melodic, carefree and happy, all those positive adjectives (and more) should tell you that the trio known as Duchess have made a debut recording that should bring a smile to your face. Is it a bit "retro"?  Yes, but it's never "snarky", never patronizing.  Amy Cervini, Hilary Gardner and Melissa Stylianou plus their merry band sound like they are having a swell time - you will as well.  For more information, go to www.duchesstrio.com.

Here's the opening track:

For his 2013 MaxJazz CD, "From Here I See", bassist and composer Ben Wolfe worked with a core quartet of Orrin Evans (piano), Donald Edwards (drums) and JD Allen (saxophone) plus guest artists and a string quartet. Messrs. Evans and Edwards return on his new release, "The Whisperer" (Posi-Tone Records) while Stacy Dillard (soprano and tenor saxophones) replaces Allen.  Trumpeter Josh Evans (no relation to the pianist) is the only guest and appears on 1 track. The unique painting on the cover is the work of Colorado-based Ron Fundingsland and is titled "Sanctuary."

Wolfe, who has worked with a slew of well-known artists ranging from Diana Krall to Wynton Marsalis to James Moody to Harry Connick Jr., clearly loves melody and writes pieces that have solid tunes yet leave space for solos. Only 2 of the 12 tracks are over 6 minutes and 5 are under 5 minutes.  The program opens with "Heroist", an up-tempo romp that starts with a McCoy Tyner-groove before galloping into the piano. Dillard flies over the opening groove on his soprano with Edwards urging him on.  The soprano takes the lead on "Hat In Hand", the first of several heartfelt ballads that are musically and emotionally satisfying.  "Love Is Near" is another, this time with Dillard on tenor saxophone, his breathy tone reminiscent of Ben Webster and Coleman Hawkins. Listen to how Wolfe makes each note count and Edwards barely brushing the snare and his cymbals as well as Evans's soft touch on the piano. Dillard returns to soprano for Jerome Kern's "All The Things You Are", the only piece not composed by the bassist.  The piano lines are so well-placed, with a blend of straight-forward phrases and "impressionistic" chords.  Josh Evans takes the place of Orrin Evans on the bopping "S.T.F.U", his exuberant playing pushing Dillard to a frisky soprano solo.

Edwards opens the longest track, "Chronos" (7:15) with a high-stepping drum solo before the band enters on a funky groove.  The piece is spiced by the various interactions, especially between Evans and Dillard (tenor) and then Dillard with Edwards.  The angular piano solo over Wolfe's rapid walking lines and Edwards' hop-scotch drums fills is a treat.  The drummer's cymbal work throughout the CD is perfectly captured by engineer Nick O'Toole, filling the sound spectrum with clicking sticks, the gentle touch on the ride and splash cymbals plus the occasional storms Edwards produces in support of the soloists.  He can sound so "free" at times; Wolfe's rock-solid foundation allows Edwards the opportunity to play (you can really hear him listening and reacting to the pianist and saxophonist.)

Ben Wolfe doesn't feel the need to solo on every track but he sets the table for bandmates to pay their best.  His mature compositions give "The Whisperer" a timeless quality; this is music that builds upon the sounds that Herbie Hancock, McCoy Tyner, Andrew Hill, Charles Mingus and Wayne Shorter discovered in the 1960s.  Mr. Wolfe and his cadre of excellent musicians do not copy any of those mentioned above, making his pieces sound fresh and alive.  For more information, go to www.posi-tone.com/whisperer/whisperer.html.

Here's the opening track of the album:


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The news has been making the rounds the past 24-36 hours that Clark Terry has entered hospice care. Having just viewed "Keep On Keepin' On" and now in the midst of his autobiography (check it out here), one is amazed but not surprised at Mr. Terry's resilience through his many trials and tribulations.  Say a prayer for him, for his wonderful wife Gwen and his family.  Then, go to patrickwilliamsmusic.com/leaves-evergreen-clark-terry/ and over a listen to this music from composer Patrick Williams that features a short but sweet solo from CT.

More of 2014 Favorites - Voices

Another fine year for vocal recordings, especially from the distaff side. My "official" Top 10 listed only Kavita Shah's "Visions" (certainly worthy) but here's a list of the others I enjoy and deserve to be considered "Best Of.." as well!

Brenda Earle Stokes - Right About Now - Magenta Label Group

Amy Cervini - Jazz Country - Anzic Records

Hilary Gardner - The Great City - Anzic Records

Melissa Stylianou - No Regrets - Anzic Records
(These 3 vocalists have banded together to create Duchess and their debut CD arrives in February 2015 on Anzic (of course!)

Kate McGarry/Keith Ganz - Genevieve and Ferdinand - Sunnyside Records

Somi - The Lagos Music Salon - OKEH/Sony

Nicky Schrire - To The Spring - (self-released)

Elizabeth Shepherd - Signal - (self-released)


2015 looks to continue the trend of fine young vocalists with new releases by CT native Allegra Levy (her debut recording of all originals is produced by trumpeter John McNeil) plus a sparkling collection of originals from Ashley Daneman titled "Beauty Indestructible" (her melodies will stick in your head for days - trust me, I know.)

Look Into Inner Circle Music

Since the beginning of 2014, Inner Circle Music, the label saxophonist/composer Greg Osby started in 2007, has issued 5 CDs.  Four of them are reviewed below, each one unique and well worth listening to. To find out more about the artists Mr. Osby has recorded, go to www.innercirclemusic.net.

Upon listening through "Primavera" several times, one is struck by a number of impressions; most of all, the wife-and-husband collaboration of Sara Serpa (voice, keyboards) and Andre Matos (guitars, bass) is so bright and full of life.  Not surprising because when the recording process began, Ms. Serpa was pregnant and, by the time the duo completed the sessions, their first child was born.
14 songs make up the program, 2 with lyrics by Portuguese poet Fernando Pessoa and 1 by e.e. cummings, 1 each by Gullermo Klein and the duo of Jeanne Lee & Ran Blake (with whom Ms. Serpa has recorded 2 lovely CDs) and the rest by either the vocalist or her husband.

I hear John Lennon's "Julia" in the lovely and deliberate melody of "Tempo" as well as XTC's Andy Partridge on "Song for a Sister"  The duo substitute guitar for piano on Lee & Blake's "Vanguard" (which Ms. Serpa also recorded with pianist Blake), making the piece less mysterious but still moving.  Label head Greg Osby appears on Matos' "Choro" where he wraps his flowing lines around the duo. There are moments when either the guitar or the saxophone shadows the vocal and that give-and-take makes the piece stand out.  Leo Genovese appears on 3 tracks playing a variety of instruments - his lovely melodica rises out of the wordless vocal lines on "Rios" sounding like Toots Thielemans.  He also adds bomba leguero and piano to the sweet Serpa ballad "Nuvem" plus toy guitar to the uptempo "Kubana."  Ms. Serpa takes the e.e. cummings' poem "i Thank You God for most this amazing" for the final track, "Earth" where her simple yet effective Fender Rhodes lines give Matos the room to add counterpoint.

Throughout the album, Andre Matos complements Sara Serpa's vocals with his expressive guitar lines.  He's not out to show his technical skills but to be a painter of the scenes that the melodies and harmonies create.  In Portuguese, "Primavera" means "in spring", the season of renewal and creation.  Listening to this music, you'll say "yes" to all counts.  For more information, go to www.saraserpa.com. Also, listen to Sara and Andre on "The Jazz Session" - go to thejazzsession.com/2014/05/19/the-jazz-session-437-sara-serpa-and-andre-matos/. Check out the CD below.

Alto saxophonist Alex LoRe, a native of Tarpon Springs, Florida, is a young saxophonist/composer whose Inner Circle debut, "Dream House", will thrill fans of the saxophone trio. LoRe, who graduated from the New England Conservatory of Music in 2009 and the Manhattan School of Music in 2011, has studied with George Garzone, Bunky Green, James Moody, Lee Konitz, Frank Carlberg, Dave Liebman and Steve Wilson (and others).  For his debut CD, his Trio mates include the thoughtful supportive bassist Desmond White and the delightful drummer Colin Stranahan plus former teacher Garzone appears on 3 of the 8 tracks.

The rhythm section gives LoRe plenty of support throughout the program.  Case in point - the lovely ballad "Tonight I Shall Sleep."  The melody feels like a Bach sonata filtered through an Ellingtonian lens (it actually is an Ellington composition from 1945 that he recorded with trombonist Tommy Dorsey) with the leader's handsome alto sax sounding like a young Johnny Hodges.  Stranahan stays with brushes throughout and, boy, can he dance.  White's rich bass lines offering a counterpoint through the melody and the alto solo. "Too Soon" also has a classical feel, especially in the long arc of the melody line and the bouncing bass lines.The airy alto leads in "Here Comes Tomorrow" (composed by White) but the rhythm section really pushes against the limpid sax lines with more strong counterpoint from White and very active but not intrusive pal from the drummer.

George Garzone joins forces on the front line and the blend of the 2 saxophones suits the ballad "Forward" just fine.  LoRe's melody unfolds slowly with the teacher weaving his lines in and around the student.  Stranahan's playing actually has a strong melodic bent while his cymbal work shimmers.  White, a native of Perth, Australia (who is also a fine singer-songwriter), makes all the right moves, all of which makes the music so compelling. The dual saxes also the opening and closing tracks additional urgency; "Amnesia" opens the proceedings in modified bop fashion but it's the splendid insistent bass lines that truly moves the piece forward while the program closes with the high energy "Buto." Stranahan gets to step out, playing with a joyous fire that is so inviting.  Garzone rides atop the waves of percussion and the motoring walking bass lines. The title track has a stunning melody line accentuated by White's droning bowed bass and Stranahan's subtle drive.

Alex LoRe rarely shortchanges a piece, letting the music unfold logically.  His alto lines  develop intelligently, making many of the tracks sounds as if one was watching the creative process in real time.  The trio plays with great freedom yet never loses sight of the importance of the melodies.  "Dream House" is a lovely abode, one in which the listener can relax and open up to a delightful experience.  For more information, go to www.alexlore.com.

If you enjoy the stew that can be created when jazz comes in contact with music from diverse cultures, place "Visions" in the player.  Vocalist Kavita Shah, a native of Manhattan, approaches her debut recording as a leader with no trepidation.  Opening with Cape Verdean composer/performer Amandio Cabral's "Sodade", one must be prepared to be surprised.  The blend of co-producer Lionel Loueke's acoustic guitar, the koto of Yacouba Sissoko, acoustic bass of Linda Oh, the tabla of Stephen Cellucci and hand percussion of Rogerio Boccato, the song floats in on Ms. Shah's rich voice (overdubbed later to create a sweet chorus).  When the string quartet enters, it's the perfect touch.  The title track, the Stevie Wonder song with such hopeful lyrics, has a strong drum track (Guilhem Flouzat) and percussive guitar (Michael Valeanu) plus atmospheric piano (Steve Newcomb - Ms. Shah is the vocalist in his Orchestra).  The overdubbed vocals create an orchestra of its own. The 3rd track, Joni Mitchell's "Little Green" (from 1971's "Blue") builds on the original with Ms. Shah's showing the influence of the composer's elastic voice but using the koto, piano, percussion bass, and Flouzat's sensitive brushwork creates a dream-like background.

That's just the first 3 tracks.  Then, there is the tabla-driven reading of M.I.A's "Paper Planes" (the original version used a sample from The Clash) that also features strong work from Valeanu and Steve Wilson (soprano saxophone) followed by a lovely take on A. C. Jobim's "Triste" driven by more fine brushwork, Ms. Oh's melodic/percussive bass work, Valeanu's strong rhythm guitar and the alto flute of Wilson (whose other appearance is on "Deluge", Ms. Shah's take on the Wayne Shorter composition from his "Juju" Lp). Loueke's voice and guitar join Ms. Shah on the exciting reading of "Oju Oba", a Brazilian tune from composers Edil Pacheco and Paulo César Pinheiro made popular by Gilberto Gil. The string quartet is employed to great effect on the 3-part "Rag Desh" that not only shows the vocalist's wonderful range and understanding of South Indian music but her creative arranging skills as she adds koto and a full rhythm section as the piece (based on a composition by percussionist Samir Chatterjee from his collaboration with wood flue master Steve Gorn)  By the time  you reach the playful down-tempo remix of the beautiful ballad "My Time Is When" that closes the CD (as a bonus track), it's hard to suppress the smile spreading across your face.

Some may consider the variety of styles that appear on "Visions" as overreach on the part of Kavita Shah.  Ignore any comments such as those and dive right into this music.  Like the Serpa/Matos duo CD above, there is such a feeling of the joy that comes from the creativity and the collaboration of the vocalist and musicians, the recording serves as a panacea to the sadness that creeps into everyday life. Of course, that can be considered as one of the underlying purposes in Stevie Wonder's lyrics on the title track.  If so, dream on.  For more information, go to www.kavitashahmusic.com.

For her debut recording, Emilie Weibel decided to go it alone in the studio.  "Omoo" features her lovely soprano voice surrounded by sound samples, percussion, electronics, keyboards and, on the transcendent "L'Heure Exquiste" (a poem of Paul Verlaine set to music by Reynaldo Hahn), a music box.

Ms. Weibel, a native of Lausanne, Switzerland, has studied with Gretchen Parlato, Jen Shyu and Ralph Alessi. On pieces such as "River Song", one can hear the influence of Ms. Parlato in both the lead and backing vocals.  That influence shows again in the sweet reading of Wayne Shorter's "Footprints" (the arrangement is based on Marc Copland's 2005 version of the track while the lyrics are original) - here, the melody is supported by a thunderstorm and vocal percussion.  The title track, inspired by the Herman Melville novel and a song from the Babinga tribe of the Congo, also use water - here, the sound of waves lapping the shore - to support the vocal.  The overdubbed voices swell like waves striking the side of a boat.  "Hello Lea" shows the influence of Bobby McFerrin in her choice of sounds in the backing wordless vocals.  She has worked with French violinist Scott Tixier and based "Tu Dis (to my Dad)" on one of his compositions. The influence of "downtempo" music is evident on several cuts including the opening song "Lemania" where the synthesized drums rise out of the sounds of a quiet bay, complete with the wind pushing the water.

"Omoo", at just over 28 minutes, is still quite a fulfilling experience.  The voices, the delicate melodies, the incidental sounds, the richness of the aural soundtrack and the honesty of the creator's intent all stand out.  This music will not bowl you over but will seduce you; enter the world of Emilie Weibel and you'll be in a unique Wonderland.  For more information, go to www.emilieweibel.com.

Give a listen:

Hearts & Soul (Part 1)

Over the past decade, vocalist Kate McGarry has issued 5 CDs on Palmetto Records that straddle the lines between jazz, pop and folk. She has done so with a clear voice, avoiding vocal tricks and cliches, making sure the listener hears the lyrics and melody.  On her most recent CD, "Girl Talk", she paid tribute to her influences ("role models", she calls singers such as Betty Carter, Sheila Jordan and others) without imitating any of them.

2014 finds Ms. McGarry moving to Sunnyside Records and releasing "Genevieve and Ferdinand", a mostly "live" recording on which she shares the billing and stage with her husband, guitarist Keith Ganz.   Over the course of 11 tracks, the duo mix heartfelt originals with intelligent arrangements of songs by Paul Simon ("An American Tune"), James Taylor ("Line "Em Up"), Tonino Horta ("Aquelas Coisas Todas/Third Wind/Aqui O"), Irving Berlin ("Let's Face The Music and Dance") and the team of Jerome Kern and Oscar Hammerstein ("Can't Help Lovin' That Man", from "Showboat").  Theo Bleckmann and Australian vocalist Gian Slater join the duo on a haunting rendition of Todd Rundgren's "Pretending to Care." Through it all, Mr. Ganz keeps the rhythm moving and offers quiet yet intelligent backing.  One hears the folk stylings of Bert Jansch in his finger-picking on the guitarist's original "Mr. Long Gones" while finely-articulated notes shimmer like starlight on "Beneath a Crozet Trestle Bridge" (from the pen of Virginia-based singer-songwriter Paul Curreri.) 

The immediacy of the recording (mostly recorded in concert at Soundpure Studios in Durham, North Carolina) makes the listener as if he is seated at the front table. There is an intimacy to the songs, a gentleness and wistfulness that transcends labels.  The CD takes its name from Ms. McGarry's middle name and her belief that her husband is, in her words like "the peaceful bull from that old children's book who only wants to sit under a tree and smell the flowers while the other bulls are fighting". "Genevieve and Ferdinand", Kate McGarry and Keith Ganz, whatever names they chose to be called, make music that is warm like a mug of mint tea on a winter day and cool like a spring breeze.  For more information, go to sunnysidezone.com/album/genevieve-ferdinand.  

Such a joy to discover a vocalist who makes a recording that knocks you back in your chair.  Zara McFarlane, born to a Jamaican family living in a suburb of London, England.  She has studied Broadway musicals, sung in a ska orchestra, made "house music", worked with jazz orchestras and toured with British artists such as Soweto Kinch and Denys Baptiste.

That written, her sophomore release, "If You Knew Her" (Brownwood Records), will surprise you with its maturity and risk-taking.  She writes that her debut CD "Until Tomorrow" used the same lineup all the way through "to create a cohesive sound."   For the new recording, the focus is on the compositions and uses different musicians on almost every track.  Manu Delago's hang drum is the first sound one hears on "Open Heart" (the hang - pronounced "hung" - sounds, at times, like a high-pitched steel drum) and leads the listener into a soulful vocal. Ms. McFarlane's voice is rich and clear; she overdubs harmonies that work with Gavin Barras' bowed acoustic bass lines to fill out the sound.  Her rendition of "Police and Thieves", the classic reggae tune composed and recorded by Junior Murvin and Lee "Scratch" Perry, is quite dramatic. Built off the solid acoustic bass lines of Max Luthert (a member of the British trio Partikel), the track features a forthright vocal (not unlike Abbey Lincoln on "We Insist! Freedom Now Suite") and a strong tenor sax solo from Binker Golding, a member of Ms. McFarlane's Quintet. The vocalist also covers "Plain Gold Ring", a song Nina Simone recorded on her splendid debut Lp "Little Girl Blue."  With just Luthert's simple bass figures, hand percussion (supplied by the vocalist) and vocal overdubs, the song is emotionally rich that suggests at Ms. Simone's husky delivery but stands out as a creative remix.

Trumpeter/vocalist Leron Thomas joins Ms. McFarlane on the jazzy remake of Jamaican singer Nora Dean's "Angie La La" which also features the strong bass work of Gavin Barras and swinging drum work of Luke Flowers (of The Cinematic Orchestra) - this take suggests the work of the late Leon Thomas (no relation to the trumpeter) in the open chords, the trance-like rhythms and the often ethereal vocals.

The original composition "The Games We Played" suggest an African connection in the lyrics, with just the sweet vocal and the gentle piano of Peter Edwards (who appeared on her debut CD and whose Trio features bassist Luthert).  That leads into "Woman In The Olive Groove", a harder-edged piece with powerful chords from Edwards and a fiery tenor solo from Golding.  Edwards also appears on the final track, "Love", accompanying the vocalist with unembellished chords (though he has several short solos featuring rippling phrases) - Ms. McFarlane's vocal suggests a sweetness and maturity, a generosity of spirit and lack of ego that gives the piece (and, for that fact, the entire album) its honesty.

Honesty, creativity, spirit, all good (if somewhat inadequate) words to describe "If You Knew Her."  You should get to know Zara McFarlane as she is a young vocalist/composer who does not cover her voice with extraneous sounds (although some of the remixes on the Brownwood web site get pretty noisy) and her songs cut through the crap of everyday life with a firm but compassionate heart. For more information, go to www.zaramcfarlane.com.  

A Great Stylist Passes and New Vocal CDs

As most jazz lovers know, Abbey Lincoln passed away this past weekend at the age of 80.  Lincoln, who first came to public notice as an actress and lounge singer, changed her look and musical style in the late 50s and early 60s when she met and married drummer/composer Max Roach.  Their collaboration with songwriter Oscar Brown Jr. gave borth to "We Insist! The Freedom Now Suite", an  Lp released in1960 that became a musical landmark in the Civil Rights movement. Also on the recording was the great tenor saxophonist Coleman Hawkins, African percussionist Olatunji and the great young trumpeter Booker Little.  50 years later, the music can still raise goosebumps.

After her divorce from Roach in 1969, she moved to California and was less active in the music business.  In 1989, she signed with Verve Records and released 11 CDs, the last being "Abbey Sings Abbey" in 2007. She certainly displayed a singular style and, to my ears, was more of a storyteller, a griot, than a vocalist. Abbey Lincoln made you listen to what she had to say and did not fit easily into any one category.  And, on top of that, she wrote many powerful songs.  Check out Doug Ramsey's column on Ms. Lincoln at his "Rifftides" blog (click here) - his short tribute features 2 videos and a link to Nate Chinen's obit in The New York Times.

Listening to "Bare", the new CD by The Exposed Blues Duo (Greene Avenue Music), one can hear the influence of Ms. Lincoln on the vocalist Fay Victor.  She does not actually sound like her or phrase her lyrics in the same fashion, but Ms. Victor is just as fearless.  Granted, she and guitarist Anders Nilsson (also a member of her 4-piece Ensemble) perform Ms. Lincoln's lyrics to Thelonious Monk's "Blue Monk" but their version is closer to Skip James. Born in the Mississippi Delta, James (1902 - 69) was notorious for his elastic rhythm, especially in his later years after he had been rediscovered.

Victor and Nilsson really make this music their own, bending pieces such as "Mood Indigo" into new and creative shapes.  The Ellington/ Bigard tune is slowed down, with slithery slide guitar riffs and plaintive vocal.  For the first 115 seconds of Rev. Gary Davis's "If I Had My Way", the unaccompanied Ms. Victor stretches out the first line of the song and continues to do after Nilsson joins her.  It's hypnotic, eerie and forceful. "If You Don't Give Me Just What I Want" is much lighter, the Duo struts their stuff and there's some fine scatting from Ms. Vincent. The influence of James "Blood" Ulmer is noticeable during the first half of "Joshua Fit The Battle Of Jericho", with Ms. Victor's percussive singing and Nilsson hard-edged and mesmerizing guitar work.

This music is so personal yet so universal, heartfelt, challenging and alive.  Fay Victor and Anders Nilsson take their time, neither rushing the music nor shortchanging the lyrics.  At home, I was on the edge of my chair - in person, the room must be electric with the passion and commitment the artists convey through their music. To find out more, go to www.fayvictor.com. (The CD goes on sale August 31.)

 Dutch vocalist Fay Claassen interprets Abbey Lincoln composition, the oft-recorded "Throw It Away" on her new CD, "Sing!" (Challenge Jazz). It's a tribute to the composer's and the artist's creative interpretation (not to forget the excellent arrangement) that this version is so satisfying. Excellent and satisfying are just two of the positive adjectives to describe this collection. The recording features the 18-member WDR Big Band Cologne throughout and the splendid strings of the WDR Rundfunkorchester (on 4 tracks.) Arranged and conducted by Mike Abene, the program is adventurous (a smashing arrangement of "Tea For Two"), funky (there is such an effervescent groove on Joni Mitchell's "Be Cool" with wailing alto saxophone from Karolina Strassmayer), and often clever (touches of the Count Basie Band on "Is You Is or Is You Ain't My Baby" with excellent "strutting" drums from Hans Dekker.)

The choice of material reflects a world view, from Miriam Makeba's "Umhome" (nice use of vocal overdubs) to Bjork's "Cover Me" (splendid arrangement by Abene for the big band and strings) to Jobim's "A Felicade" (sung in Portuguese over swing then samba rhythms.)  Betty Carter's "Tight" has the vocalist showing the influence of Carter's unique vocal style while the band swings like mad.

There is not a weak track on "Sing!" Claassen's voice is strong, her phrasing, at times like a rich alto saxophone and the arrangements uniformly excellent - one gets the feeling Ms. Claassen sang as the band played and not to already recorded tracks.  And, Abene's intelligent integration of the strings into the music shows great thought.  Don't pass on this recordings, it's one of the best of the year.  For more information, go to www.challengerecords.com or www.fayclaassen.nl.

"Voice" by TAEKO, issued on Flat Nine Records, is a more "conventional" recording.  The Japanese native opens the CD, her 2nd, with an inspired rendition of Herbie Hancock's "Canteloupe Island" and a reggae-soaked take of Monk's "I Mean You."  Drummer Doug Richardson sets the pace throughout, coloring Marvin Gaye's "Inner City Blues" with subtle high-hat work and solid propulsion while giving Wayne Shorter's "Infant Eyes" (lyrics by Doug Carn) the correct amount of power, never overshadowing the vocalist, Greg Lewis's sweet organ and the soft electric guitar work of Kevin McNeal.

But, it's TAEKO's show from the opening moment and she displays a supple, dusky (at times) voice, good control of dynamics and a fine understanding of the lyrics. Her choice of material is certainly eclectic, with Sly & The Family Stone's "Stand" next to Stanley Turrentine's "Sugar" and Duke Ellington's "I Didn't Know About You."  Not "supper club" material but a set of songs for the modern "jazz club" and, because she has such an expressive voice, also a lot of fun.  To find out more, go to www.songbirdtaeko.com.