你说 Faye 飞

Faye Webster’s songs are direct lines to the human subconscious, and Underdressed at the Symphony documents what happens once you begin to build a new self from the ashes of your old routines. This rebirth isn’t flashy or definitive, but is instead a series of seemingly mundane moments that, scattered across weeks and months, sneak their way toward something like healing. Yes, there’s a breakup in play, but Webster is not documenting the heartbreak of a breakup so much as she’s navigating the contours of heartbreak itself.

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s.

Clearway comprises original compositions and interpretation of jazz standards from Cy Coleman and Charlie Parker. Featuring Louis Navarro on bass, Théo Lanau on drums and Greg Dubuis as sound engineer, the trio explores various styles from ballads to be-bop tunes, including pop music.

Atlanta Millionaires Club is in Faye Webster's feelings, and that's the way she likes it. "Everything is way personal, " Webster says. "I have to write about very personal things for me to even want to write." On the 21-year-old Atlanta native's album, the omnipresence of pedal steel eschews bluegrass trappings, flexible under Webster's genre-bending direction. Webster didn't set out to make it sound like any artist in particular, but she cites Aaliyah as her main musical inspiration for how she uses sound. Pulling from a familial lineage of folk storytelling and time spent in Atlanta's hip-hop scene, Webster's work is a study of duality, weaving through her own introversion and heartbreak; it's an idiosyncratic sadness punctuated by fleeting observations and an unexpected, sly sense of humor. And like the way Webster takes the traditional instrumentation of Americana and flips it into something else, she uses her own calm, laid-back demeanor to say you can be boldly and unapologetically yourself in a quiet way, too.

Frances Faye was a spirited middle-of-the-road pop/cabaret singer. During 1955-1957 she was one of Bethlehem's few non-jazz artists although being with that label resulted in her interacting with veteran jazz musicians. In 1957 when it looked like folk music was going to be the next big trend (it would be, but not until the early '60s), she recorded a set of traditional melodies while accompanied by brass and string orchestra arranged by Russ Garcia that included West Coast jazz players (including Maynard Ferguson, Don Fagerquist, and Frank Rosolino). Faye was not the most subtle of singers but she sounds quite expressive on such numbers as "Frankie and Johnny," "St. James Infirmary," "John Henry," a variety of ancient folk songs, and even "Clementine." Five previously unreleased alternate takes round out this intriguing program.

This 1955 album was also known by the title Bad, Bad Frances Faye when it was first reissued in the 1970s. Faye interprets these standards accompanied by an orchestra conducted by talented arranger Russell Garcia, featuring sidemen Maynard Ferguson, Herbie Harper, Frank Rosolino and Mel Lewis, among others.

Establishing himself as an undeniable force on the European jazz scene, Amaury Faye has taken the first step in an ambitious project: to record five live albums in five European capitals. The trio chose Brussels, their hometown, as the first of this series. The trio presents a high-level repertoire of originals and standards, tastefully mixing the fire of their young blood with contemplative wisdom beyond their years. Amaury Faye, Louis Navarro and Théo Lanau have successfully taken on the challenge and delivered a fascinating and audacious one-shot album for both jazz fans and neophytes.

Le Amaury Faye Trio sortira son premier album le 19 Mai 2017 sur le label Jazz Village (Harmonia Mundi). Cet album s'appelle Clearway, qui correspond au nom de la rue où Amaury vivait lorsqu'il était à Boston.
L' album a été enregistré à Lausanne, en Suisse, au Studio du Flon grâce à la compétit