Patti+austin

With a voice that is capable of convincingly interpreting virtually any style of material, Patti Austin is one of the most astoundingly gifted singers of her generation. Here Patti caresses twelve timeless melodies with great sensitivity and emotional depth, taking the listener on a warmly romantic journey. Intimate Patti Austin is the first in Mosaic Contemporary’s Intimate Series, presenting the "best of the best" ballad interpretations from an artist's entire recorded output for several labels. From her wonderful version of the classic Stylistics hit “Stop, Look, Listen” to the first recording of the now standard Ivan Lins/Alan & Marilyn Bergman gem “The Island”, this collection takes the listener through the many passionate feelings of love found, lost, and renewed.

"Havana Candy" was Patti Austin's second solo album and was produced by Dave Grusin and Larry Rosen. Stylistically, it's very similar to its predecessor and Patti's passionate and emotive vocals are truly magical and spellbinding on gorgeous ballads like "I Just Want To Know", "Little Baby" and "That's Enough For Me". While not commercially successful, "Havana Candy" is a Patti Austin classic which anyone who loves good music should not miss out on.

Patti’s debut for CTI, END OF A RAINBOW was conceived after she played demos of songs she’d written (but originally never planned to record) for arranger Bill Eaton who in turn played them for his production partner percussionist Ralph MacDonald. After MacDonald let Creed Taylor hear some of the songs, Patti began recording what would become her much-acclaimed debut set for the label which featured eight original Austin compositions including the U.S. R&B charted single, ‘Say You Love Me’ and ‘Sweet Sadie The Savior’ (also recorded by Blood, Sweat & Tears). The 1976 LP (with some of New York’s top session players) became a U.S. Top 40 jazz charted album and is included in its entirety on this SoulMusic Records’ compilation drawn from Patti’s four years with CTI.

Patti’s debut for CTI, END OF A RAINBOW was conceived after she played demos of songs she’d written (but originally never planned to record) for arranger Bill Eaton who in turn played them for his production partner percussionist Ralph MacDonald. After MacDonald let Creed Taylor hear some of the songs, Patti began recording what would become her much-acclaimed debut set for the label which featured eight original Austin compositions including the U.S. R&B charted single, “Say You Love Me” and “Sweet Sadie The Savior” (also recorded by Blood, Sweat & Tears). The 1976 LP (with some of New York’s top session players) became a U.S. Top 40 jazz charted album and is included in its entirety on this SoulMusic Records’ compilation drawn from Patti’s four years with CTI.

Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988 she even recorded an album of standards that she tellingly titled The Real Me. For Ella easily could be the sequel to that collection.

With apologies to Dianne Reeves, Patti Austin has always quite simply been the best jack-of-all-genre singers on the planet, crossing effortlessly from jazz to pop and R&B with a voice that's so sweet, rich, and lovely, it can't help but warm the heart. On the heels of her 1988 masterpiece The Real Me, her GRP debut packs a wallop of festive up tempo tunes, lite funk pop, torchy message songs, passionate ballads, and breezy tenderness – all delivered with a truly Austin-tatious flair. Austin surrounds herself with some of pop jazz's best here, with GRP's 1990 roster well represented: Dave Grusin (whose production is flawless), Don Grusin (with whom she co-wrote the happy "Ooh Wee (The Carnival)"), Deborah Henson-Conant (whose harp adds punch to "In My Dreams"), Lee Ritenour, and Nelson Rangell (whose alto soars on the title cut).

With apologies to Dianne Reeves, Patti Austin has always quite simply been the best jack-of-all-genre singers on the planet, crossing effortlessly from jazz to pop and R&B with a voice that's so sweet, rich, and lovely, it can't help but warm the heart. On the heels of her 1988 masterpiece The Real Me, her GRP debut packs a wallop of festive up tempo tunes, lite funk pop, torchy message songs, passionate ballads, and breezy tenderness – all delivered with a truly Austin-tatious flair. Austin surrounds herself with some of pop jazz's best here, with GRP's 1990 roster well represented: Dave Grusin (whose production is flawless), Don Grusin (with whom she co-wrote the happy "Ooh Wee (The Carnival)"), Deborah Henson-Conant (whose harp adds punch to "In My Dreams"), Lee Ritenour, and Nelson Rangell (whose alto soars on the title cut).