Scats & Tracks

Singer Roseanna Vitro is expert at interpreting lyrics and scats with a strong sense of adventure. Ballads predominate on her excellent Concord CD, but there are also a few cookers (including a surprisingly rapid "I'm Through With Love"). The singer covers a wide variety of material (some of it of recent vintage) with a touching version of "So Many Stars" being a high point. Vitro is greatly assisted by a fine trio starring pianist Fred Hersch; the tenors of Tim Ries and George Coleman help out on some selections. This rewarding CD gives one a fine example of Roseanna Vitro's talents.

13 years after her prior in-performance release Live in Paris, Bridgewater has not so much matured or refined her approach as she has gotten bolder. This CD was recorded on what would have been her idol Ella Fitzgerald's 80th birthday weekend at Yoshi's in Oakland, CA. She scats in the style of Fitzgerald on most of these numbers - not quite in the higher range, but comfortably in the middle – while also displaying some of Sarah Vaughan's more deeply soulful traits.
It's a combination of the two, with a little bawdiness for spice, that has made Bridgewater a prime purveyor of excitable jazz vocalizing these days. The set begins with the Charlie Shavers evergreen "Undecided," as the singer stops and starts the band on several dimes for the initial lines, exacting choppy phrases and similar scatting á la Fitzgerald on the bridge.

What does a bass player do when he’s recording an album as a leader? Surely not an hour’s worth of bass solos! Ray Brown solved the bass player’s dilemma with a series of recordings under the Some of My Best Friends Are… heading. This 1998 release is the third in the series, following the earlier Some of My Best Friends Are…Piano Players and Some of My Best Friends Are…Sax Players, and it’s a gem. Featuring a sextet of fine vocalists, ranging from the well-established to the unknown, this CD is a class act from beginning to end.

Released back when there was always two sides to every audio story (i.e., side one and side two), Giuffria's second offering houses an interesting concept: polarizing the huffy from the heavy. This is hardly a revolutionary idea, as such was the common format of most AOR at the time, and perhaps for the sake of balance some silk slips into the steel and vice versa, so the record ultimately ends up heavy on the light. The titular titan's bombastic keyboards float like angel feathers amongst David Glen Eisley's lung-busting vocals (Eisley even scats with axeman Lanny Cordola right out of the gate on "No Escape")…

A great production from the glorious days of Brazilian popular music. There are fast, medium-paced and slow tracks. On Catavento, she also scats, and though she doesn't always have perfect pitch and seems somewhat uncomfortable doing it, it does contribute to the album's versatileness.

Verve Records celebrated the 50th anniversary of Norman Granz's first Jazz at the Philharmonic concert with an all-star get-together at Carnegie Hall. Different groups of top players from Verve's legacy (both past and present) had opportunities to perform, and this CD has many of the highlights. Pianist Peter Delano plays "Tangerine" with a trio; Dee Dee Bridgewater sings "Shiny Stockings" with the Carnegie Hall Jazz Band; Hank Jones pays tribute to Art Tatum; Abbey Lincoln sings "I Must Have That Man"; Joe Henderson meets up with Antonio Carlos Jobim (who made his final concert appearance) on "Desafinado"; "Manteca" features trumpeter Roy Hargrove and trombonist Steve Turre; pianist Yosuke Yamashita pays tribute to Bud Powell; Betty Carter scats on "How High the Moon"; Herbie Hancock and John McLaughlin play a restrained acoustic version of Bill Evans' "Turn out the Stars"; Hargrove teams up with altoist Jackie McLean and guitarist Pat Metheny for "The Eternal Triangle"; organist Jimmy Smith revisits Oliver Nelson's arrangement of "Down by the Riverside"; Art Porter and Jeff Lorber play some crossover, and J.J. Johnson contributes a few trombone solos.