Betty Carter

This pairing of two totally idiosyncratic vocalists acquired legendary status over the decades in which it had been out of print. But the proof is in the listening, and frankly it doesn't represent either artist's best work. There is certainly a powerful, often sexy rapport between the two – Charles in his sweet balladeering mode, Carter with her uniquely keening, drifting high register – and they definitely create sparks in the justly famous rendition of "Baby, It's Cold Outside." The main problem is in Marty Paich's string/choir arrangements, which too often cross the line into treacle, whereas his charts for big band are far more listenable.

"I'm Yours, You're Mine" is a 1996 studio album by the American jazz singer Betty Carter. Recorded in January 1996, this was the last album that Carter recorded before her death in September 1998.
"I'm Yours, You're Mine" peaked at 25 on the Billboard Top Jazz Albums chart.
No doubt Betty Carter's singing is an acquired taste, but to those who have acquired it, she's a uniquely appealing artist. The elongated lines, exotic colors and unusual ornaments she brings to every cut on this recording attest to the singular nature of Carter's singing.

Taken from a live 1993 performance in London, Feed the Fire is an album filled with surprises. Betty Carter is known for her practice of featuring hot new up-and-coming musicians in her bands, but on this recording she is accompanied by established, world-class talent: Geri Allen, Dave Holland, and Jack DeJohnette. Dave Holland demonstrates why he is one of the greatest living bassists with his unerring sense of melody and pitch. Jack DeJohnette, an acknowledged master of the drums for 30 years, is nothing less than explosive, punctuating the solo statements of his bandmates with powerful flurries. Allen's touch is reminiscent of Keith Jarrett's at times, such as on her excellent solo on "Love Notes"…

The title of this CD reissue probably refers to the fact that this was singer Betty Carter's first released recording in five years; a second CD (Round Midnight) also originated from the same concert. The mature Betty Carter is heard for the first time on this record which finds her taking wild chances on a set mostly dominated by standards.

Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza, or increasing the pace at an unexpected moment. This deserves full attention, as it represents Betty Carter still evolving and perfecting her matchless technique.

This LP contains singer Betty Carter's earliest recordings. On one date she is heard performing six standards with a quartet also featuring pianist Ray Bryant ("I Could Write a Book" and "The Way You Look Tonight" are highpoints). The other session, which was only released for the first time in 1980, has five songs on which Carter is joined by a 14-piece band arranged by Gigi Gryce; this version of "Social Call" is a classic. Naturally Carter sounds much more conventional on these performances than she would 30 to 40 years later, but already her voice was immediately recognizable.

A song's melody is simply a reference point and a beginning for Carter; she takes words and inverts, probes and extends them, embellishes themes, changes moods and alters rhythms. She's a vocal improviser in a manner few have equaled, and if her voice lacks the clarity and timbre of the all-time greats, she's more than compensated with incredible timing, flexibility and power. Throughout this 11-track effort, Carter's vocals direct and steer the responses of pianist Cyrus Chestnut, bassist Ariel J. Roland and drummer Lewis Nash. It was yet another memorable outing for Betty Carter, an all-time great.