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Bebop Spoken There

Dee Dee Bridgewater: "We found out that the estate doesn't allow any lyrics to Coltrane's music" - (DownBeat April, 2020).

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COVID-19

In the current climate we are doing our best to keep everyone up to date. All gigs, as we all know, are off.

However, good old YouTube has plenty to offer both old and new to help us survive whilst housebound. Plus now is a good time to stock up on your CDs.

Also, keep an eye out for live streaming sessions.

Alternatively, you could do as they do in Italy and sing from your balcony.

Today

As we all know there are no live gigs taking place in the immediate future. However, any links to jazz streaming that are deemed suitable - i.e. with a professional approach - will be considered for posting.

Sunday, October 28, 2018

CD Review: Evelyn Laurie - A Little Bit of Me.

Evelyn Laurie (vocals); Euan Stevenson (piano); Tom Gordon (perc.); Frank Bolam (guitar); Konrad Wiszniewski (tenor); Mario Caribe (bass).
(Review by Lance).
Yet another female singer - am I allowed to say that now that 'man-sized tissues' have been declared non-pc? There are moments on this emotive disc where tissues of any dimension and gender would be useful to have at hand.

Laurie gets into the lyrics and brings out whatever poignancy is contained within. When she sings Sandy Denny's Who Knows Where the Time Goes? you pose the same question to yourself and, in I Fall in Love Too Love Easily you will believe her just as much as I did when Chet [Baker] sang it all those years ago. 

Not that this is an album of tearjerkers, far from it, the gentle swingers are equally delightful. The paradoxically titled I Love the Way You're Breaking My Heart romps along merrily as does Lullaby of Birdland where Laurie indulges in some restrained scatting.

I Love Your Smile, a Laurie original, is another bouncy ballad helped along by some great piano from Stevenson who is on the money throughout.

In the Dark has more original words from the Scottish singer who proves emotion can be conveyed without histrionics. Konrad W blows tenor both solo and in accompaniment on this one and reminds us just how good a player he is.

Wichita Lineman, surprisingly, offers an acceptable alternative to the Glen Campbell chart version recorded back in the days when the MM/NME charts meant something. Bolam's guitar solo does mean something - it means he's a mighty fine geetar man as they might say in Wichita.

The tissues are out again for I'm a Fool to Want You. Voice and bass blend perfectly on this number that has Sinatra's name on the credits. I think Ol' Blue Eyes would have approved!
The final number is a strange choice. Fly Away has Laurie lyrics added to Carl Orff's In Truitina from his Carmina Burana. I suppose it's okay, Konrad blows atmospheric tenor but, as I've never been enamoured of Carmina, I'll pass judgment on this track.

Highly recommended,  9 tracks out of 10 isn't bad and the opener - Close Your Eyes - is a good starting point to listen to the debut album of a singer I hope we'll hear more of without having to take the high road or the low road.
Lance

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