Betty Carter recorded only two albums during the 1961-1968 period. Her chance-taking style and unusual voice were mostly ignored and it would not be until the late '70s that she was finally "discovered." This Atlantic CD finds Carter backed by orchestras arranged by Claus Ogerman and Oliver Nelson. Her style was a lot freer than it had been in her earlier records but was still more accessible than it would be. Her repertoire, which includes the title cut, "Theme from Dr. Kildare," "Two Cigarettes in the Dark" and her own "Who What Why Where When" was already becoming eclectic. This is an interesting historic release.
Betty Carter's second Verve album solidified her credentials as one of jazz's top singers. Her trio of the period (pianist Marc Cary, bassist Tarus Mateen and drummer Gregory Hutchinson) are joined by trumpeter Freddie Hubbard (shortly before his decline) and tenor saxophonist Craig Handy on four of the seven selections while a medley of "Stardust" and "Memories of You" finds Carter accompanied by pianist Geri Allen.Other highlights include "I Love Music," "What's the Use of Wond'rin'" and "Droppin' Things." With the exception of the Geri Allen medley, this consistently stimulating music was recorded live at the Bottom Line in New York.
Betty Carter recorded only two albums during the 1961-1968 period. Her chance-taking style and unusual voice were mostly ignored and it would not be until the late '70s that she was finally "discovered." This Atlantic CD finds Carter backed by orchestras arranged by Claus Ogerman and Oliver Nelson. Her style was a lot freer than it had been in her earlier records but was still more accessible than it would be. Her repertoire, which includes the title cut, "Theme from Dr. Kildare," "Two Cigarettes in the Dark" and her own "Who What Why Where When" was already becoming eclectic. This is an interesting historic release.
“Ray Charles's decision to cut an album of duets with then-rising jazz singer Betty Carter defines the phrase 'unerring instinct.' Charles responds to Carter's gorgeous voice and compelling melodic changes with some of his softest singing; you might say that this already masterful conduit of emotion got in touch with his feminine side on this 1961 date. The opening and closing cuts of the girls'-names theme album 'Dedicated to You' demonstrate Brother Ray's touch for transforming unlikely material into expressions of his own funky essence. His amused big-band celebrations of 'Hardhearted Hannah' and 'Sweet Georgia Brown' sit alongside sublime portraits of 'Stella by Starlight' and 'Ruby' on an underappreciated set that's a perfect match for the Charles-Carter sides.”