Tierney Sutton: Meets Charlier/Sourisse: Talking to the Sun, featuring Serge Merlaud

Styles: Vocal Jazz
Year: 2025
Time: 55:29
File: MP3 @ 320K/s
Size: 127,7 MB
Art: Front

(5:50) 1. Talking to the Sun
(5:04) 2. Que reste-t-il de nos amours ?
(7:28) 3. Modinha
(4:22) 4. Flor de Lis
(2:50) 5. Play for me (Pra Quem Quiser Visitar)
(2:33) 6. Laptop choro
(5:23) 7. Eu não existo sem você
(4:26) 8. Springtime, I'll be there
(4:59) 9. The prince of Calais
(5:57) 10. Bluesette
(6:33) 11. Les étoiles de Léa

A light choro with a pandeiro beat, a clever text and a rangy melody that winds around itself, ramping up the tempo on the final turn, "Laptop Choro" is the pick hit of Tierney Sutton Meets Charlier/Sourisse: Talking to the Sun.

Sutton's lyric, a relatable contemporary tale, offers a litany of complaints about the digital life: wasting an inordinate amount time on hold with insufferable music in order to speak with a software specialist, reboots that cause whatever progress seemed to have been made previously to revert to square one, and feelings of frustration and inadequacy for not being able to make it all work. Sisyphus at the computer.

Emotions run strong.  "I know it's only just a stupid machine, not a human thing, and yet I hate it with a passion that is burning hot, deep in the core of my soul, just like a smoldering coal," our protagonist sings, rejecting numerous ineffectual solutions and ultimately throwing in the towel.

I need to meditate, decaffeinate or maybe I should emigrate to somewhere, if it's not too late to get some vindication. I'll just reset the WiFi and start to cry. I've got to liquidate and isolate, exterminate, evaporate. I'll go where I can hibernate and have a celebration. Yes, I'll turn off the WiFi and say goodbye. I'll leave it to a younger generation. This is my annihilation from the said abomination. Please accept my resignation, over and out.

Sutton has nine Grammy nominations under her belt, but Talking to the Sun is the first of her albums as a leader to feature her own lyrics. If "Laptop Choro" is an indication, this is a fruitful new avenue for her. And a chorinho by the enduringly inventive duo of keyboardist Benoit Sourisse and drummer Andre Charlier is the perfect place to begin.

https://www.allaboutjazz.com/talking-to-the-sun-tierney-sutton-meets-charlier-sourisse-featuring-serge-merlaud-tierney-sutton-gemini-records__18356

Talking to the Sun (mp3 320)
Talking to the Sun (FLAC)

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Patrick Williams - Home Suite Home

Bitrate: MP3@320K/s
Time: 50:37
Size: 115.9 MB
Styles: Big band swing
Year: 2015
Art: Front

[ 3:20] 1. 52nd & Broadway
[ 6:06] 2. Home Suite Home I. Elizabeth (The Beautiful Scientist)
[ 7:49] 3. Home Suite Home Ii. Greer (The Dreamer)
[ 7:47] 4. Home Suite Home Iii. Patrick B. (The Real Deal)
[ 4:33] 5. A Hefti Dose Of Basie (To The Memory Of Neal Hefti)
[ 3:47] 6. I've Been Around
[10:20] 7. Blue Mist (For Catherine)
[ 6:51] 8. That's Rich (For Buddy)

Patrick Williams: conductor; Dave Grusin: piano; Chuck Berghofer: bass; Peter Erskine: drums; Dean Parks: guitar; Dan Higgins: alto saxophone; Jeff Driskill: alto saxophone; Bob Sheppard: tenor saxophone; Tom Scott: tenor saxophone; Gene Cipriano: baritone saxophone; Wayne Bergeron: trumpet; Dan Fornero: trumpet; Bob Summers: trumpet; Michael Stever: trumpet; Arturo Sandoval: trumpet; Charlie Loper: trombone; Andy Martin: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Dan Grecco: percussion; Patti Austin: vocals (1); Frank Sinatra Jr.: vocals (6); Tierney Sutton: vocals (6).

Composer, arranger and band leader Patrick Williams leads some of the finest jazz musicians in L.A. on another exciting portrait of big band swing on Home Suite Home, an album that's far more personal than all of his previous works. Documenting a personal homage to his family and his first musical love, Williams pays tribute to his children and wife stating "I tried to capture the essence of the personality of my wife and three children in musical terms...""is truly a labor of love." In addition to the all-star list of players on his band, Williams augments the group with vocalist's Patti Austin, Tierney Sutton and Frank Sinatra, Jr. gracing the stage with the likes of pianist Dave Grusin, trumpeter Arturo Sandoval, drummer Peter Erskine and long-time associate, saxophonist Tom Scott as special guests adding the final ingredients to his most ambitious and masterful musical project to date.

A prolific composer, the band leader offers eight original tunes leading off with "52nd & Broadway" featuring vocalist Austin fronting a full-on swinging orchestra. The tribute to his children is the center-piece of the disc and incorporated in the three-part suite beginning with his first homage, this time for daughter Elizabeth on "Home Suite Home I. Elizabeth (The Beautiful Scientist)" featuring sparkling solos from tenor men Scott and Bob Sheppard. "Home Suite Home II. Greer (The Dreamer)" is a far more subdued and humble piece of music highlighted by the sweet solos from Dan Higgins. The last homage, "Home Suite Home III. Patrick B. (The Real Deal) features a robust ensemble and showcases the chops of drummer Erskine, saxophonist Scott and trumpeter Michael Stever.

Williams pens the most ambitious track for his wife of 54 years dedicating "Blue Mist (For Catherine)" where trumpeter of note Sandoval leads the band on a delicate lush and introspective soft ballad conveying a warm message of love. One of the non-tribute pieces of the set that stands out here is, the swinging orchestral piece "I've Been Around" featuring a smart duet between vocalists Frank Sinatra Jr. and Tierney Sutton.

Aside from dedications to his family, Williams also includes a tip of the hat to trumpeter/composer and arranger Neal Hefti on "A Hefti Dose of Basie (To The Memory of Neal Hefti)" as the band dose a marvelous impersonation of the Basie orchestra featuring the stylish horn of trumpeter Stever taking the honors on lead. The last non-family tribute is a big band swinging chart entitled "That's Rich (For Buddy)" with various members of the band on solo excursions including drummer Erskine doing his best impersonation of the late great drummer Buddy Rich. When all is done, Patrick Williams' Home Suite Home, is far more than a tribute to family, friends and the music he loves, it's a tasteful creatively-designed flavor of big band swing performed with gusto that hits home. ~Edward Blanco

Home Suite Home

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The Tierney Sutton Band - The Sting Variations

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:55
Size: 155,2 MB
Art: Front

(5:46)  1. Driven to Tears
(5:53)  2. If You Love Somebody Set Them Free
(6:16)  3. Seven Days
(4:37)  4. Shadows in the Rain
(3:49)  5. Walking in Your Footsteps
(4:36)  6. Fragile/The Gentle Rain
(4:25)  7. Message in a Bottle
(4:45)  8. Fields of Gold
(4:03)  9. Fortress Around Your Heart
(5:07) 10. Language of Birds
(3:01) 11. Every Little Thing He Does Is Magic
(4:46) 12. Every Breath You Take (Lullabye)
(4:11) 13. Synchronicity I
(5:35) 14. Consider Me Gone

The Sting Variations is a logical follow up to seven-time Grammy nominee Tierney Sutton's solo album After Blue, in which Tierney Sutton re-imagined Joni Mitchell's iconic album Blue. This time, the full ensemble "The Tierney Sutton Band" returns with their unique interpretation of the best of Sting's diverse repertoire. "The Sting Variations" continues the band's history of their remarkably creative exploration of well-known songs. Embracing both massive hits and more obscure, deep album tracks from Sting’s catalog, The Sting Variations is the latest studio triumph from a group that has toured the world, and in recent years has headlined at the Hollywood Bowl, Carnegie Hall, the Kennedy Center and Jazz at Lincoln Center. Tierney and the band can also be heard on movie and television soundtracks, including the Academy Award-nominated film The Cooler, as well as on television commercials for prestigious brands such as BMW, Green Giant, Yoplait yogurt and Coca-Cola. Most recently, the band scored Clint Eastwood’s new film Sully. Imbued with immense talent and a genuine love for music and people, Tierney Sutton’s voice is one that transcends stylistic boundaries, touching the hearts of all who hear it. http://www.bfmjazz.com/index.php/artists/tierney-sutton-band/sting-variations/sting-variations-one-sheet
 

Musicians:  Tierney Sutton – Vocals;  Christian Jacob – Piano;  Kevin Axt – Bass;  Ray Brinker - Drums, Percussion

The Sting Variations

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Tierney Sutton - Something Cool

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 64:57
Size: 149,4 MB
Art: Front

(5:41) 1. (Get Your Kicks On) Route 66!
(4:29) 2. Something Cool
(3:35) 3. Wouldn't It Be Loverly?
(6:26) 4. I've Grown Accustomed To His Face
(3:07) 5. Show Me
(5:51) 6. Comes Love
(5:37) 7. Reflections
(4:13) 8. Alone Together
(6:06) 9. Out Of This World
(5:30) 10. All Or Nothing At All
(3:03) 11. Ding-Dong! The Witch Is Dead
(3:00) 12. Walkin' After Midnight
(3:40) 13. Crazy
(4:34) 14. The Best Is Yet To Come

Tierney Sutton warms the soul with Something Cool. This offering, her third as a leader for the Telarc label, finds the vocalist using an array of vocal techniques, jazz styles, and formats on 14 great songs by several Great American Songbook composers, Bobby Troup, and the masterful Duke Ellington. Sutton is accompanied by her longtime trio of Christian Jacob on piano, Trey Henry on bass, and Ray Brinker on drums. The lovely vocalist/educator charms her listeners with elongated phrasings, a strong rhythmic sense, and amazing improvisational abilities on three Lerner & Loewe themes from the Broadway musical My Fair Lady. In addition to the outstanding vocal treatments she offers her listeners on these classic songs, Sutton scats and swings through an amazing "Ding, Dong! The Witch Is Dead."

This song not only shows her versatility with tempo changes and range, but also displays her unique talent for selecting songs commonly associated with another musical style and improvising them in a jazz context. She garnered international critical acclaim for this technique on her 1999 release titled Unsung Heroes. Additional highlights include Howard Dietz's "Alone Together," on which she duets with bassist Trey Henry, and her exceptional rendition of "The Best Is Yet to Come," which features her cool jazz vocal skills. Tierney Sutton is at her finest on this program and offers an impeccable selection of songs that showcase her distinct musical personality and quality sound.~ Paula Edelstein https://www.allmusic.com/album/something-cool-mw0000229587

Something Cool

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Tierney Sutton - Paris sessions 2

Styles: Vocal
File: MP3@320K/s
Time: 69:10
Size: 159,4 MB
Art: Front

(3:40) 1. Triste
(6:09) 2. April in Paris - Free man in Paris
(7:24) 3. Zingaro
(6:25) 4. Isn't it a pity
(6:42) 5. Beautiful love
(4:39) 6. Cinema paradiso - I knew I loved you
(7:31) 7. Moonlight
(5:05) 8. Pure imagination
(4:24) 9. A child is born
(2:35) 10. Doralice
(5:02) 11. August winds
(4:50) 12. You'd be so nice to come home to
(4:37) 13. Chorado

On 2014's Grammy-nominated Paris Sessions, acclaimed singer Tierney Sutton forged an indelible chemistry with classically-trained guitarist-arranger Serge Merlaud. Now husband and wife, the two take their musical connection to even deeper levels on Paris Sessions 2, set for release on May 6, 2022. Sutton's 15th album, which she has dedicated to the late songwriter Marilyn Bergman, represents yet another high-water mark in her esteemed career.

The nine-time Grammy nominee has been heralded for her abilities as both a jazz storyteller and her ability to use her voice as an instrument. Whether it was on her 2002 tribute to Bill Evans (Blue In Green), her 2004 Frank Sinatra tribute (Dancing in the Dark), her 2013 Joni Mitchell tribute (After Blue) or her 2016 salute to pop icon Sting (The Sting Variations), Sutton has continued to weave her spell with a combination of pure, pristine vocals, emotional honesty and striking reinventions of familiar tunes. That spell is very much intact on Paris Sessions 2. https://www.broadwayworld.com/bwwmusic/article/Tierney-Sutton-Set-to-Release-New-Album-Paris-Sessions-2-20220406

Paris sessions 2

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Tierney Sutton - Desire

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 57:35
Size: 132,5 MB
Art: Front

(7:15)  1. It's Only A Paper Moon
(4:52)  2. My Heart Belongs To Daddy
(5:45)  3. Long Daddy Green
(4:58)  4. Fever
(4:37)  5. It's All Right With Me
(4:23)  6. Then I'll Be Tired Of You
(5:22)  7. Cry Me A River
(4:54)  8. Love Me Or Leave Me
(3:54)  9. Heart's Desire
(5:38) 10. Whatever Lola Wants
(5:50) 11. Slylark

Dark chocolate is a beautifully nefarious romantic ideal. Rather than possessing the youthful sweetness of milk chocolate, it instead offers a libertine bitterness, a taste that must be acquired to appreciate but once acquired, no other taste can sate. Having to learn to like something so that knowledge will bring added pleasure is an adult concept, perhaps a hedonistic one, that Paul obviously meant to express when he divinely penned to those salacious Corinthians, "For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known." Dark chocolate has the added decadence of danger. That thing denied that is so coveted because it is denied. It is this dark romance that Tierney Sutton began investigating on her previous effort, On The Other Side (Telarc, 2007), and has continued to cultivate on Desire. 

Where On The Other Side rubbed together the innocent lyrics of "Get Happy" and "You Are My Sunshine" with sensual too-close-for-comfort support, Desire further strips down this tact to the bare essentials. Drummer Ray Brinker and bassists Trey Henry and Kevin Axt provide Sutton tactile terrain over which the vocalist redevelops these standards anew. "It's Only a Paper Moon" has Brinker quietly brushing double time, just a low hum of anxiety beneath Sutton and pianist Christian Jacob, who rendezvous darkly. Against Kevin Axt's complex bass line and Jacob's piano seasoning, Sutton stretches like Eliot's cat on "My Heart Belongs to Daddy." . Sutton gives a superbly sardonic kiss-off on "Cry Me a River" and "Love Me or Leave Me." Her unique ability to sing words while conveying their exact opposite is the key to what has made these last two albums so artistically successful. Again, it is Henry's bass figure, ascending and descending, that provides the jagged terrain Sutton must travel to thumb her nose at an ex-lover. "Whatever Lola Wants" is delivered with a languid and spoiled attitude. Jacob's solo shards are delivered over a brilliantly off time left hand figure, so menacing that this ballad may best be reserved for Halloween (in the best possible way). The closing "Skylark" is as spooky as they come. With Desire, Sutton tempers her signature sound: edgy, intelligent, and beautiful. ~C. Michael Bailey https://www.allaboutjazz.com/desire-tierney-sutton-telarc-records-review-by-c-michael-bailey.php

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Trey Henry and Kevin Axt: bass: Ray Brinker: drums.

Desire

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The Tierney Sutton Band - ScreenPlay

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 67:51
Size: 157,7 MB
Art: Front

(5:31)  1. The Windmills of Your Mind
(4:40)  2. Moon River / Calling You
(4:05)  3. On a Clear Day (You Can See Forever)
(5:48)  4. What Are You Doing the Rest of Your Life?
(4:29)  5. I've Got No Strings
(5:59)  6. If I Only Had a Brain
(5:31)  7. The Sound of Silence
(2:27)  8. Goodbye for Now
(3:23)  9. Diamonds Are a Girl's Best Friend
(4:11) 10. Hopelessly Devoted to You
(5:01) 11. You're the One That I Want
(4:20) 12. How Do You Keep the Music Playing?
(2:59) 13. Ev'ry Now and Then
(6:24) 14. It Might Be You
(2:55) 15. Arrow

Cinema-related "standards" have been fertile territory for musicians to harvest ever since Al Jolson walked miles for smiles. With Screenplay, 8-time Grammy-nominated vocalist Tierney Sutton here as the Tierney Sutton Band takes a fascinating retrospective, delivering fifteen tunes we have often heard  but never this creatively. The result is a showcase that is unique, engaging, and in terms of how Sutton, pianist Christian Jacob, bassists Trey Henry and Kevin Axt and drummer Ray Brinker collectively speak brilliant. "The Windmills of Your Mind" spins slowly with a Brinker cymbal "drone," Jacob's keys sparkling, and Sutton poetic. "Moon River" is paired with the lesser-known "Calling You" in which Sutton's lyric and dynamic delivery is Siren-seductive, drawing us in to both rainbow's end and desert zephyrs. "On a Clear Day" is a swinger with Sutton and Henry whipping up a tempest before a torrid Jacob trip and Brinker burning. Sutton inquires "What Are You Doing the Rest of Your Life" fairly straightforwardly in a stunningly beautiful duo with Jacob. The rarely heard "I've Got No Strings," here a ballad, adds those of guitarist Serge Merlaud to Sutton's truth-telling. With "If I Only Had a Brain" Sutton cooks soulful with funkster Kevin Axt's electric bass and Henry's arco working a savvy complement. Simon and Garfunkel's "Sound of Silence" plays like a Medieval chanson with Sutton the trobairitz. 

Stephen Sondheim's "Goodbye for Now" is a dark, deep farewell. "Diamonds Are a Girl's Best Friend" dazzles with Sutton scat singing over Brinker's Fred Astaire like brushes. "Hopelessly Devoted to You," taken slower than usual, and the rhythmically driving "You're the One That I Want" are interesting no-ham cuts. Alan Bergman makes a cameo appearance with Sutton on "How Do You Keep the Music Playing?" and it is a touching entendre. Sutton and Jacob haunt on "Ev'ry Now and Then" and "It Might Be You." Both those tracks are gems. "Arrow," which Sutton and Jacob wrote for Clint Eastwood's Sully (Warner Bros. 2016) soundtrack closes the session dream like. Sutton's vocal chops and her phrasing are impeccable. Not only is she dead-on pitch, but, her instrument and the way she handles it across the dynamic spectrum enables her to derive new imagery from the vintage material. The effect is so stunningly beautiful and emotionally profound that it seems as if we are hearing these classics come prima. As expected, the support work of Jacob, Henry, Axt and Brinker is superb. 

Additionally, the arrangements are so creative, so colorfully savvy, that the ensemble takes on the dimension of a "vocalized orchestra."  The Tierney Sutton Band does much more than revive memories. Through the creative efforts of these masterful musicians, glorious melodies and their poetic lyrics are elevated and brilliantly honored. It is an aural Oscar. With Screenplay the play is indeed the thing. ~ Nicholas F. Mondello https://www.allaboutjazz.com/screenplay-tierney-sutton-bfm-jazz-review-by-nicholas-f-mondello.php

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Kevin Axt: bass; Trey Henry: bass; Ray Brinker: drums/percussion; Serge Merlaud: guitar (5, 12, 14); Alan Bergman: vocals (12).

ScreenPlay

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Dick Weller - New West

Bitrate: MP3@320K/s
Time: 53:39
Size: 122.8 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[4:45] 1. Second Chance
[7:47] 2. New West
[3:07] 3. Overcome
[4:45] 4. Don't Fall
[4:41] 5. Movin' On
[6:19] 6. Same Difference
[4:20] 7. Seasons
[5:09] 8. Blown
[3:26] 9. Believin'
[4:41] 10. After All
[4:34] 11. Could Be Should Be

Beachfront Property - Vocals (Background); Jeff Beal - Flugelhorn, Trumpet; Dave Carpenter - Bass (Electric); Rich Eames - Piano, Producer, Synthesizer; Robert Hurst - Bass (Acoustic); Jennifer Schneider - Vocals; Bob Sheppard - Flute, Guest Artist, Sax (Soprano), Sax (Tenor); Tierney Sutton - Guest Artist, Vocals; Steve Tavaglione - Flute, Guest Artist, Sax (Soprano), Sax (Tenor); Dick Weller - Drums.

Dick Weller is a busy performer in the LA area. He moved to LA from New York City in 1992. He was working in New York clubs with folks like Mike Stern, Mike Manieri, Chuck Loeb, Andy Laverne, Jeff Andrews, Leni Stern, along with many others. In Los Angeles, he has been busy with the Bob Florence big band, as well as being an in demand performer playing in the local clubs, recording as a sideman and doing some touring.

New West is his first effort as a leader, using the talents of Tierney Sutton, the vocal group Beachfront Property, Bob Sheppard, Steve Tavaglione, Jeff Beal, Mike Miller, Rich Eames, Dave Carpenter and Bob Hurst. Very nice listening!

New West mc
New West zippy

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Gabriel Espinosa - Songs Of Bacharach And Manzanero

Bitrate: MP3@320K/s
Time: 49:55
Size: 114.3 MB
Styles: Vocal jazz, Latin jazz
Year: 2016
Art: Front

[5:09] 1. Adoro
[5:06] 2. (They Long To Be) Close To You (Feat. Tierney Sutton)
[5:02] 3. Como Yo Te Ame
[3:18] 4. The Look Of Love (Feat. Tierney Sutton)
[5:00] 5. Esta Tarde Vi Llover
[4:46] 6. What The World Needs Now (Feat. Tierney Sutton)
[4:04] 7. Somos Novios
[6:16] 8. Raindrops Keep Falling On My Head (Feat. Tierney Sutton)
[4:40] 9. Cuando Estoy Contigo
[6:29] 10. Alfie (Feat. Tierney Sutton)

Bassist-composer-arranger Gabriel Espinosa explores the common ground between two prolific and influential popular composers who came to prominence during the ‘60s in their respective countries -- Burt Bacharach in the United States and Armando Manzanero in Mexico. With five-time Grammy Award-nominated vocalist Tierney Sutton handling the five familiar Bacharach tracks and Espinosa himself singing the Spanish lyrics of five tunes by his fellow countryman and native of Yucatan, this alluring concept album is brimming with the kind of sophisticated harmonies, unexpected chord progressions and changing meters that mark both acclaimed composers’ work, while also being unabashedly romantic at his core.

As Espinosa states, “I’m not a jazz musician, I’m not a Brazilian musician or Afro-Cuban musician or bolero musician. I’m a little bit of everything, so I put a little bit of everything in these songs.” What do the famed American pop composer and beloved Mexican bolero composer have in common? Espinosa rattles off a list of qualities: “Beautiful melodies, beautiful harmonies, beautiful lyrics. Friendly songs. Songs that people can relate to. Songs that people can sing along to. They’re beautiful songs. To me, they are like the new American Songbook writers. Bacharach is a magic composer. Nobody was writing popular music like that in the ‘60s. And Manzanero is the equivalent of Jobim, but in the Mexican bolero music tradition. He is one of the idol composers in Mexico.” ~Grady Harp

The ensemble is Gabriel Espinosa, vocals, Tierney Sutton, vocals, Misha Tsiganov, piano and fender Rhodes, Mauricio Zottarelli, drums, percussion. Jim Seeley, trumpet, flugelhorn, Hendrik Meurkins, harmonica, Gustavo Amarante, electric bass, Joe Martin, acoustic bass, Gabriel Espinosa, eclectic bass, Rubens De La Corte, acoustic guitar, Itai Kriss, flute, and Johathan Gomez, bongos.

Songs Of Bacharach And Manzanero

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Tierney Sutton - I'm With the Band

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 61:17
Size: 141,7 MB
Art: Front

(4:58)  1. Softly, as in a Morning Sunrise
(4:49)  2. Let's Face the Music and Dance
(2:48)  3. 'S Wonderful
(4:17)  4. Between the Devil and the Deep Blue Sea
(3:07)  5. Two for the Road
(2:37)  6. East of the Sun (And West of the Moon)
(2:56)  7. People Will Say We're In Love
(4:42)  8. If I Loved You
(2:28)  9. Surrey With the Fringe On Top
(3:16) 10. Cheek to Cheek
(4:54) 11. Blue Skies
(3:31) 12. I Get a Kick Out of You
(4:49) 13. The Lady Is a Tramp
(3:19) 14. What a Little Moonlight Will Do
(4:12) 15. On My Way to You
(4:27) 16. Devil May Care

Jazz siren Tierney Sutton has produced her masterpiece. Following five well-received recordings, Sutton has done two things that ensure the superb quality of her new recording: one, she and her band perform live; and two, she fully integrates herself into the band, where all members exist as equals. Tierney Sutton has made a dent in the jazz market by releasing smartly conceived concept recordings, usually focusing on a single artist. Introducing Tierney Sutton (Challenge, 1998) was an initial affair that honored Frank Sinatra. Unsung Heroes (Telarc, 2000) offered a program consisting of jazz standards most commonly considered instrumentals (thus its ironic title). Blue in Green (Telarc, 2001) paid homage to Bill Evans, while Something Cool (Telarc, 2002) showed Sutton stretching her repertoire to include Patsy Cline and Nat King Cole. Dancing in the Dark (Telarc, 2004) was Sutton's overt tribute to the Chairman of the Board.  I'm With the Band takes everything Tierney Sutton has been doing on these discs, throws it in the air, and allows the results to fall where they may live. 

A vocal gymnast, Sutton carries the lyrically elastic torch of Betty Carter. Her control and technique make her voice (through vocalese) an instrument in her band, not in the cliched singing sort of way, but in the real scat sense. This becomes apparent right out of the chute with her lengthy introduction and scat solo on the wonderfully upbeat and off-kilter "Softly in The Morning Sunrise." On "S'Wonderful," Sutton performs in a trio with bassist Kevin Axt and drummer Ray Brinker (also on "Shat A Little Moonlight can Do"), all of whom free-form their way through the Gershwin brothers' classic. "Between the Devil and the Deep Blue Sea" is serpentine and creamy. "Two for the Road" is lazily balladic. When not displaying her considerable vocal abilities, Sutton celebrates the talents of her longtime bandmates, effectively elevating them to equals on this recording. Christian Jacob plays splendid piano throughout, harmonically anchoring the group. Bassist Kevin Axt and drummer Ray Brinker comprise a crack rhythm section which maintains a hard swing throughout. While the program may be heavy on the Sinatra, it's great to hear this repertoire performed in such a fresh and inventive way. ~ C.Michael Bailey https://www.allaboutjazz.com/im-with-the-band-tierney-sutton-telarc-records-review-by-c-michael-bailey.php
 

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Trey Henry, Kevin Axt: bass instrument; Ray Brinker: drums.

I'm With the Band

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Tierney Sutton - Unsung Heroes

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 57:26
Size: 131,8 MB
Art: Front

(7:38)  1. Remember Me (Recordame)
(5:53)  2. Early Autumn
(7:17)  3. A Timeless Place (The Peacocks)
(3:26)  4. Bernie's Tune
(8:30)  5. Spring Is Here
(3:40)  6. Joy Spring
(6:22)  7. All for One (Speak No Evil)
(4:41)  8. Indiana / Donna Lee
(4:28)  9. When Lights Are Low
(5:29) 10. Con Alma

While jazz enthusiasts mourn the loss of many of the members of the first generation of female jazz vocalists, their enthuasiasm doesn't seem to extend to many of the vocalists struggling, and in some cases, succeeding on today's scene. Dee Dee Bridgewater, Dominique Eade, Dianne Reeves, Vanessa Rubin, Karrin Allyson, and Nnennon Freelon, among others, come to mind. More's the pity. Each of these vocalists is creating her own style, disparate though it may be, and her own presence, in today's jazz scene. Now along comes Tierney Sutton, head of the jazz vocal department at the University of Southern California and a favorite or Buddy Childers. Having stepped out into her own with her first CD, "Introducing Tierney Sutton," Tierney Sutton now needs no introduction. Instead, she is extending her interests and her range. On "Unsung Heroes," Sutton has chosen some of her favorite jazz compositions, many of which were not intended for singing but instead consisted of instrumental arrangements of distinctive soloing. Fortunately, she has discovered words to these jazz classics and added her own distinctive style to express them with class and emotion. 

A soprano, Sutton really doesn't conform to the classic jazz singer mold of a lower-voiced performer with bent notes and bluesy emoting. Instead, she takes her craft seriously and delivers bright and uncannily on-pitch interpretations involving finely crafted phrasing or wordless accompaniment to instrumental solos. The most notable example is her version of Jimmy Rowles' "The Peacocks" (renamed "A Timeless Place" for the vocal version.) With difficult intervallic repetitions imitating natural sounds and unconventional melodic lines, Sutton not only understands the interpretive demands of the piece, but also reveals in her own way its timeless beauty. Her singing backed by Childers, other horn men and guitar on some selections, her choice of pianist Christian Jacob elevates the CD to a level above "tribute" and to "interpretation." Jacob knows his Tyner, that's for sure, and his densely chorded accompaniment and fluidity in soloing completes the picture for perceiving the inherent meaning and complexity of each tune. Rather than following in the footsteps of other singers, Sutton has followed her instincts to develop a style of her own that leverages her inherent, and impressive, talent. 

~ AAJ Staff https://www.allaboutjazz.com/unsung-heroes-tierney-sutton-telarc-records-review-by-aaj-staff.php?width=1920

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry, bass; Ken Wild, bass; Ray Brinker, drums; Gary Foster, alto flute, alto sax; Buddy Childers, flugelhorn; Alan Kaplan, trombone; Jamie Findlay, guitar

Unsung Heroes

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Tierney Sutton - Dancing In The Dark: Inspired By The Music Of Frank Sinatra

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 55:03
Size: 126,5 MB
Art: Front

(5:42)  1. What'll I Do
(2:48)  2. Only The Lonely
(3:24)  3. I'll Be Around
(5:49)  4. All The Way
(5:03)  5. I Think Of You
(3:13)  6. Where Or When
(5:12)  7. Without A Song
(4:54)  8. I Could Have Told You
(5:52)  9. Emily
(3:22) 10. Last Night When We Were Young
(4:16) 11. Fly Me To The Moon
(5:24) 12. Last Dance/Dancing In The Dark

Tierney Sutton's latest Telarc release celebrates the music of Frank Sinatra not the ring-a-ding-ding, devil-may-care, wise-cracking leader of the Rat Pack who was the epitome of hipness and bravado, but, as Sutton observes in the liner notes, the "dark corners" of Sinatra's work that she finds "endlessly compelling." The mood is hushed, sentimental and pensive as Sutton places her indelible stamp on such heart-wrenching Sinatra classics as "Only the Lonely," "I'll Be Around," "Last Night When We Were Young," and others. Sutton's voice, soft and smoky, is perfectly suited to the balladic repertoire, and her readings, albeit unlike Sinatra's, as well they should be, are nonetheless apt and persuasive. She is ably supported by pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker, with whom she has worked for more than a decade. A string orchestra, conducted by Jacob, has been added on five numbers. I don't know whose idea that was, but it does little to enhance the performance, and I much prefer the seven tracks on which Sutton and the trio are on their own. 

Among the latter, Sutton is especially warm and seductive on "Only the Lonely," "I'll Be Around," "I Could Have Told You," and "Last Night When We Were Young." It should be noted that she is no less captivating on a handful of songs whose connection to Sinatra is more tenuous, including "What'll I Do," "I Could Have Told You," "Emily," and the Rachmaninoff-based melody "I Think of You." The finale, with strings attached, is a well-designed medley of Sammy Cahn/Jimmy van Heusen's "Last Dance" and Howard Dietz/Arthur Schwartz's "Dancing in the Dark," a lovely way to end an impassioned and essentially delightful homage to one of the twentieth century's meistersingers, Frank Sinatra, who was known and admired by his legions of fans simply as "the voice." 

~ Jack Bowers https://www.allaboutjazz.com/dancing-in-the-dark-tierney-sutton-telarc-records-review-by-jack-bowers.php

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry Bass; Ray Brinker, drums; Christian Jacob, piano. On tracks 1, 4, 5, 7, 12, orchestra conducted by Jacob -- Peter Kent, concertmaster; Vladimir Polimatidi, Gina Kronstadt, Kathleen Robertson, Sharon Jackson, Susan Chatman, Erica Walczak, Kirstin Fife, Eddie Stein, Barbra Porter, Cameron Patrick, Juliann French, violin; Margot Aldcroft, Harry Shirinian, Jorge Moraga, Lynn Grants, viola; Larry Corbett, Armin Ksakajikian, Audy Stein, cello; Brad Kintscher, horn; Gary Foster, flute.

Dancing In The Dark: Inspired By The Music Of Frank Sinatra

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The Chris Walden Big Band - Home Of My Heart

Styles: Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 76:51
Size: 176,4 MB
Art: Front

(6:27)  1. Cherokee
(6:55)  2. Rainy Day In Vancouver
(4:06)  3. Film Noir - Part I
(3:39)  4. Film Noir - Part II
(3:17)  5. Film Noir - Part III
(5:36)  6. Mulholland Falls
(6:19)  7. Here's Looking At You
(5:02)  8. Star Wars
(8:11)  9. Home Of My Heart
(3:47)  10. Feet First
(7:28)  11. Here's That Rainy Day
(2:45)  12. How Long Has This Been Going On
(3:00)  13. Nonino
(2:38)  14. You Took Advantage Of Me
(6:52)  15. Stolen Moments
(0:43)  16. Dr. Stefan Frank

German-born, Los Angeles-based composer/arranger/flugelhornist Chris Walden looks way too young to be this good at a task as daunting as big band writing. He looks almost too young to be sitting in with the band, though he is pushing the ripe old age of forty. But he started early at the art, writing big band arrangements while he was still in high school, and later putting together the charts for the Frankfurt Radio Big Band and the RIAS Big Band. Since his move to Los Angeles, he's written arrangements for Nancy Wilson, Barbra Streisand, Sheryl Crow, and Christopher Cross, and somewhere in there he's scored more than thirty feature and TV movies, including his current work scoring projects for the SciFi Channel (I thought I'd heard some good sounds there). The Chris Walden Big Band is composed of some of L.A.'s finest studio and jazz artists, and with them he's put together a marvelous debut with Home of My Heart. 

The disc is very much a traditional big band outing arrangers like Bob Belden and Don Sebesky come to mind for comparisons full of interesting song choices. The set opens with the classic "Cherokee," bright and sassy, followed by some cool and subtle harmonies on Christopher Cross's "Rainy Day in Vancouver." Dave Gruisin's "Mullholland Falls," Charlie Haden's "Here's Looking At You," a great jazzed-up version of John Williams' "Star Wars"; and vocalist Tierney Sutton sits in on Gershwin's "How Long has This Been Going On." And much more. This is 77 minutes of music, consistently fine sounds all the way, with a very cinematic feel. The highlights for me are Walden's own compositions, "Film Noir parts 1-3," and the title tune. Here's hoping for continued success for Walden in his film work, so he can bankroll nobody makes money at these big band things a big band disc of all his own material. ~ Dan McClenaghan  http://www.allaboutjazz.com/home-of-my-heart-chris-walden-origin-records-review-by-dan-mcclenaghan.php

Personnel: Chris Walden (drum programming); Chris Walden (flugelhorn, programming); Christopher Cross (guitar); Rob Lockart, Rick Keller , Tom Petersen (saxophone); Kevin Richardson, Kyle Palmer (trumpet); Jacques Voyemant (trombone); Dave Carpenter (double bass); Tierney Sutton (vocals); Mitch Holder (guitar); Frank Marocco (accordion); Pete Christlieb, Jeff Driskill, Brian Scanlon, Bob Sheppard, Brandon Fields (saxophone); Wayne Bergeron, Ron King , Roger Ingram, Bobby Shew, Carl Saunders (trumpet); Alex Iles, Arturo Velasco, Richard Bullock, Bruce Otto, Bryant Byers, Bob McChesney (trombone); Alan Steinberger (piano); Tony Pia, Peter Erskine (drums); M.B. Gordy (percussion).

Home Of My Heart

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Tierney Sutton - Paris Sessions

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:19
Size: 120,1 MB
Art: Front

(3:27)  1. You Must Believe in Spring
(2:16)  2. Ilm
(5:53)  3. Don't Go to Strangers
(5:53)  4. Beija Flor
(3:12)  5. You're Nearer
(5:20)  6. Estate
(4:54)  7. All Too Soon
(3:43)  8. Asma
(3:32)  9. Body and Soul
(5:46) 10. Izzat
(4:37) 11. Don't Worry 'Bout Me
(3:42) 12. Answer Me, My Love

Think you know every aspect of Tierney Sutton's artistic persona? Think again. Hearing the Paris Sessions is to hear Sutton anew. Sure, it's that same one-of-a-kind voice, but there's no Tierney Sutton Band here, incredibly novel arrangements aren't a priority on this one, and there's no grand umbrella theme to contend with. This is simply a captivating listen-by-candlelight album that strikes to the heart of Tierney Sutton. Paris Sessions is easily the most informal item in Sutton's discography, but the idea of informality shouldn't carry a negative connotation; quite the opposite, in fact. This is a work of unfiltered beauty, successfully pairing vocal temptress with guitar and bass guitar. Two of the numbers recorded at this two day session "Don't Go To Strangers" and "Answer Me, My Love" appeared on Sutton's After Blue (BFM Jazz, 2013); the other ten more standards, some bossa nova detours, and three originals written by Sutton's chief collaborator on this project, guitarist Serge Merlaud  are heard for the first time.

Merlaud is along for this entire ride, an equal partner seated beside the singer. Some brief numbers even cede more than a minute to Merlaud, allowing for proper mood setting and introductions ("You Must Believe In Spring" and "You're Nearer"). Elsewhere, Sutton leads the way, coolly gliding into a scene in inimitable fashion ("Estate"). Seven of the twelve numbers on the program also include the acoustic bass guitar work of Kevin Axt. He provides integral support when holding down the bottom end, but he also takes on the role of rhythm guitarist on several occasions, allowing Sutton and Merlaud to drift along above. Sometimes it takes the arrival of an album to realize that something was missing in the first place. Such is the case with Paris Sessions. This is the hushed Sutton stunner that the jazz world didn't even know it needed. ~ Dan Bilawsky  http://www.allaboutjazz.com/paris-sessions-tierney-sutton-bfm-jazz-review-by-dan-bilawsky.php#.VBoZBRawTP8
 

Personnel: Tierney Sutton: vocals; Serge Merlaud: acoustic guitar, electric guitar; Kevin Axt: acoustic bass guitar.

Paris Sessions

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Lorraine Feather - Language

Bitrate: 320K/s
Time: 44:25
Size: 101.7 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[4:12] 1. Traffic And Weather
[3:40] 2. We Appreciate Your Patience
[4:29] 3. Very Unbecoming
[3:56] 4. I Love New York At Christmas
[5:02] 5. Home Alone
[2:24] 6. Hit The Ground Runnin'
[4:12] 7. Where Are My Keys
[3:52] 8. In Flower
[4:02] 9. Waiting Tables
[4:34] 10. A Household Name
[3:58] 11. Making It Up As We Go Along

Over her mere seven-album discography, Lorraine Feather has carved out a fulfilling career as a jazz singer far outdistancing many one-shots, far less talented but successful pop-jazz vocalists, and wannabes. Her talent as a lyricist of wit, sarcasm, and keen observations of the American human condition is her true strength, and not always as acknowledged as her verbal chops and inventiveness. Her language goes beyond the nomenclatures of swing, bop, and contemporary improvisation, as Feather exploits many literary references and well-worn phraseology from various acumens, and keeps the proceedings upbeat and interactive between her words and the musical notes offered by her excellent confreres. Pianist Shelly Berg is closest to Feather as a collaborator, writing the music for Feather's cleverest lyrics. The quick, lithe, bouncy, and brisk "Traffic and Weather" relates to Bay Area commuter congestion, climatological issues, or references to inseparable pairings, and "We Appreciate Your Patience," with a cynical, animated take on annoying automated answering services, teams Feather and Berg in multilevel harmonic and whimsical refrains. Feather is fond of stringing worn-out clichés together, as on "Patience," but is in an especially sharp mood about trite multiple sports adages on the bopper "Hit the Ground Runnin'," featuring a furious Russell Ferrante on piano, and tells the all too familiar thoughts-racing, mouse-on-a-treadmill tale of "Where Are My Keys?," turning a dilemma into fun. Also skillful, aside from their lyric content, are her instrumental ideas, like using a horn section and a drummer only on the sassy tale of a career dilemma "Waiting Tables," or the slinky, bluesy Duke Ellington-like "A Household Name," debunking stardom and alerting you to the pitfalls of the celebrity trap. Feather can also be sentimental, as on her romanticized Billy Strayhorn waltz tribute "In Flower," the melancholy "I Love New York at Christmas," and her most languid, evocative tune, "Making It Up as We Go Along." She is rarely self-conscious or insular, but Ferrante's modal two-chord piano prop-up during "Home Alone" keeps Feather's possible dour mood in check, although she can't help being doting on "Very Unbecoming." On occasion, vocalists Tierney Sutton, Janis Siegel, and Cheryl Bentyne enter in supportive vocal cameos. This may very well be Lorraine Feather's best effort, certainly the one where collaboration is the key, and statements on our disposable, technology-driven, time-consuming society had to be made. Bravo Lorraine, and hang in there! ~ Michael G. Nastos

Recording information: Entourage; Visual Rhythm.

Lorraine Feather (vocals); Janis Siegel (vocals, background vocals); Grant Geissman (guitar); Greg "Frosty" Smith (saxophone); Willie Murillo, Gary Grant (trumpet); Andy Martin (trombone); Michael Lang , Russell Ferrante, Shelly Berg (piano); Michael Valerio (bass guitar); Gregg Field, Michael Shapiro (drums, percussion); Cheryl Bentyne, Tierney Sutton (background vocals). Audio Mixer: Carlos Del Rosario.

Language

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Tierney Sutton Band - American Road

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 61:16
Size: 140,4 MB
Art: Front

(6:11)  1. Wayfaring Stranger
(5:47)  2. Oh Shenandoah/ The Water Is Wide
(4:24)  3. On Broadway
(6:01)  4. Amazing Grace
(4:48)  5. It Ain't Necessarily So
(5:27)  6. Summertime
(6:55)  7. My Man's Gone Now
(5:23)  8. Tenderly
(2:24)  9. The Eagle And Me
(3:47) 10. Somewhere
(5:10) 11. Something's Coming/Cool
(4:53) 12. America The Beautiful

Solidly innovative and a forward-thinker in jazz vocals arena over the past 15 years, Tierney Sutton has constantly looked backwards while forging a future path that has influenced the likes of Laurie Antonioli and Gretchen Parlato, among many other noted contemporary jazz vocalists. A master of vocal pyrotechnics like Sarah Vaughan, Sutton sings on a high-wire, taking stylistic chances that, more often than not, pay off handsomely. Sutton and her band have been perfecting their unique updating of the great American songbook on such well-received recordings as Desire (Telarc, 2009), On The Other Side (Telarc, 2007) and I'm With The Band (Telarc, 2005). And she provides a tour-de-force in American Road. An important part of the band's unique sound derives from divining the organic earthiness from the standards it selects to perform. Where Cassandra Wilson spent the better part of the 1990s stripping down standards and redressing them with more rustic instrumentation such as acoustic slide guitars, mandolins, violins and other artifacts of rural blues, effecting a more seminal, fecund sound, Sutton accomplishes the same with carefully conceived arrangements, created by the entire band as opposed to a single person. Additionally, she does this with her traditional jazz piano trio of 18 years. 

These arrangements are spare and wide open. Often jarring and dissonant, the clever settings reveal the pieces as dramatically different from traditional performances, revealing their anxious and unsettling elements. American Road follows a year after Laurie Antonioli's America-focused recording, American Dreams (Intrinsic, 2010). Antonioli's organic approach lies between that of Cassandra Wilson's and Sutton's, focusing on using more rustic instrumentation with more original compositions and some truly inspired takes on musical Americana. Antonioli and Sutton intersect with inspired covers of "America The Beautiful," both spare and light, giving the singers plenty of time and room to display their considerable individual vocal wares. There is no edge here, both interpretations equally bring home the American goods. Sutton's choice of repertoire mines deep the American song, drawing from traditional folk sources, spirituals, show tunes and popular music. The disc opens with the Public Domain "Wayfaring Stranger" and "Oh Shenandoah/The Water Is Wide." As on previous recordings, drummer Ray Brinker plays an important role both using novel percussive approaches and keeping time as if by telepathy. The drums become an extension of pianist Christian Jacobs' equally percussive and ornate playing. "Wayfaring Stranger" is performed as if in a home parlor (albeit a "green" one) on a Sunday afternoon, after church and lunch. "Oh Shenandoah/The Water Is Wide" begins with nine muffled microphone strikes buoyed by bassists Kevin Axt and Trey Henry strumming chords, achieving an unsettled environment over which Sutton jazz-vocalizes the lilting melody of "Oh Shenandoah." This segues into Jacobs' clean as spring comping and solo on "The Water Is Wide." Sutton sings the "Oh Shenandoah" melody behind Jacobs' solo, solidifying the continuity of the song pairing. The effect is fresh and vibrant, like the first color Polaroid of Summer. Sutton and company strip all of the glamour from Lieber and Stoller's "On Broadway," leaving a nervous and excited performance where the arrangement leads the way. 

Bassists Axt and Henry shine, producing poly-rhythms with Jacob and Brinker. Sutton sings at her most sinewy and muscular here. To be sure, this is not your parent's George Benson version. This is a juggernaut. The group turns out a graceful and flowing "Amazing Grace," with Jacob providing an orchestral backdrop supported by Brinker's pistol-shot snare and shimmering cymbals. The disc programming establishes two mini-recitals of American monoliths: the Gershwin brothers and Stephen Sondheim/Leonard Bernstein. The Gershwin selections exist as a musical triptych of "It Ain't Necessarily So," "Summertime" and "My Man's Gone Now." "It Ain't Necessarily So" is bold, jarring, dangerous with hard and assertive playing by Jacob and corrosively sardonic deliver by Sutton. The rhythm and time is jack-hammer tight, ensuring a version of this chestnut not likely to be topped. This is likewise true for "My Man's Gone Now," where another hard rhythmic figure dominates the song even in its quieter moments. These songs are no longer the quaint ballads of cabaret singers. Sutton and her band transform them militantly into feral expressions of more base instincts. Gone is nicety and politeness: enter naked realism that is both seductive and refreshing.

Between these two songs is the old standby, "Summertime." Musical treatment here is gentler but no less provocative than Sutton's approach with the other Gershwin offerings. Bass and drums set up a three-note figure transfigured through the harmonic prism of the song. Jacob adds light filigree while Sutton sings with authority and melodic refinement. Jacobs' solo is a study of the skeleton of the piece, distilled to some bare essence. These very familiar tunes have been turned on their head to show a different angle. Sutton digs deep, revealing the novel and unseen in these compositions: dramatic and horizon expanding. After the Gershwins, Sutton turns her attention to Sondheim/Bernstein and West Side Story (1961). "Somewhere" and "Something's Coming/Cool" are given more traditionally dramatic arrangements, with an emphases on the dramatic. 

"Somewhere" is some of the best ballad singing of Sutton's career. The band's arrangement is straightforward and Sutton perfectly balanced and placed. The coupling of "Something's Coming/Cool" returns to the edge of the experimental, where boundaries and perimeters are extended. Over a brooding, ascending piano/bass figure Sutton injects impressive drama, accentuated by the clever arrangement. The transition between the songs is seamless and inventive, again give the arrangement. Not since Gil Evans worked his magic for the first Miles Davis quintet has arranging had such a potent and important effect in small-combo jazz. This is top- notch, full-throttle, jazz vocals. ~ C.Michael Bailey   http://www.allaboutjazz.com/php/article.php?id=40384#.UztIqFdSvro

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Kevin Axt: electric and acoustic bass; Trey Henry: electric and acoustic bass; Ray Brinker: drums.

American Road

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Tierney Sutton - After Blue

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 52:46
Size: 120,8 MB
Scans: Front

(4:11)  1. Blue
(3:28)  2. All I Want
(4:57)  3. Court And Spark
(5:56)  4. Don't Go To Strangers
(5:15)  5. Dry Cleaner From Des Moines
(3:06)  6. Big Yellow Taxi
(6:08)  7. Woodstock
(4:54)  8. Little Green
(5:50)  9. Be Cool
(3:45) 10. Answer Me My Love
(5:11) 11. Both Sides Now
(5:36) 12. April in Paris / Free Man in Paris

Joni Mitchell and jazz have long engaged in mutualism. Mitchell subtly absorbed the ideals of this music, which were then filtered into her work, and she built musical relationships with some of the finest jazz musicians to walk this Earth; the list of her collaborators bassist Charles Mingus, saxophonist Wayne Shorter, guitarist Pat Metheny and numerous others is long and staggering. Jazz, on the other side of the relationship, benefitted from her body of work and interpretive skills. Everybody from pianist Keith Jarrett to vocalist Kate McGarry has taken a stab at Mitchell's music, embracing and exploring the deep wellspring of emotions that exist within her work. Now, vocalist Tierney Sutton joins the list of Joni interpreters, as she sings Mitchell's praises and songs on After Blue.

Sutton became an ardent admirer of Mitchell's work after hearing the brilliant Both Sides Now (Reprise, 2000), but she had some trepidation about trying on Mitchell's treasured songs. In the liner notes for this album, Sutton notes, "I knew that Mitchell's music was not something I could glance at and then perform. I had to live with it for years." She goes on to say that she needed to "marinate" in Mitchell's music; that process proved successful. Sutton absorbed the flavors in Mitchell's work, blending them with her own essence during the interpretive process.

Though Sutton is, admittedly, tardy to the Joni party, she's fashionably late. The twelve songs that she visits on After Blue are cleverly arranged vehicles that balance creative impulses with a sense of respect for the material. She demonstrates this time and again, whether bestowing elegance upon "Little Green" with the Turtle Island String Quartet, tackling "All I Want" with that group's cellist Mark Summer or reworking the oft-covered "Big Yellow Taxi" into a voice-with-drums number in five. Sutton's captivating "Woodstock" veers closer to the Mitchell template than most of the other performances, but Sutton never resorts to imitation; originality seems to flow through her veins.

While the Tierney Sutton Band a mainstay on her albums is noticeably absent, the quality of the music doesn't suffer one bit. In fact, the diversity in musical partnerships here brings something fresh into the picture. A you-never-know-what's-next feeling carries through this album, as Sutton moves from refined, string-enhanced music to hip-and-fun scenarios with flautist Hubert Laws in the mix to guitar-meets- voice encounters with Serge Merlaud. Other key collaborators include drummer Peter Erskine, pianist/organist Larry Goldings, and special guest Al Jarreau, who drops in to add some vocals on "Be Cool."

The news of this album was met with much anticipation in (vocal) jazz circles, and with good reason. Sutton-as-singer and Mitchell-as-muse are like fine wine and cheese: they're two tasty delicacies that pair well together.~ Dan Bilawsky  

http://www.allaboutjazz.com/php/article.php?id=45398#.UkN9iFfNmSo
 
Personnel: Tierney Sutton: vocals; Hubert Laws: flute (5, 9); Peter Erskine: drums (5, 9); Ralph Humphrey: drums (6); Larry Goldings: piano, B3 organ (3, 5, 7, 9, 12); Serge Merlaud: guitar (4, 10); Al Jarreau: vocals (9); Turtle Island String Quartet (1, 8); David Balakrishnan: violin; Mateusz Smoczynski: violin; Benjamin Von Gutzeit: viola; Mark Summer: cello

After Blue

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The Chris Walden Big Band - No Bounds

Time: 55:18
Size: 128.0 MB
Styles: Big Band
Year: 2006
Bitrate: 320K/s
Art: Front

[3:49] 1. Winter Games
[5:00] 2. When You Wish Upon A Star
[6:30] 3. No Bounds
[5:07] 4. People Will Say We're In Love
[4:27] 5. Clax's Theme
[6:33] 6. In The Doghouse
[3:50] 7. Try Harder
[4:16] 8. Smile
[5:13] 9. Someday My Prince Will Come
[5:14] 10. Otterkam
[5:14] 11. It's A Small World After All

The follow-up to a particularly successful debut album, No Bounds brings more of what could potentially be referred to as "contemporary" big band. Big band as a major force disappeared decades ago, and those playing now are almost entirely nostalgia-based groups playing the old standards. Chris Walden is one of a very few that has adapted the genre to fit some more contemporary ideas, and takes new directions with the large-scale format. Here, there's a mix of old and new pieces, some updated thoroughly, some hearkening back to the powerful ensembles of the '70s, and some arranged back toward a vocal standard form (with Tierney Sutton providing some nice vocal work). The album opens with a jazz version of David Foster's theme for the 2006 Winter Olympics, and moves to a relaxed rendition of "When You Wish Upon a Star," the first of three Disney-related songs to appear on the album. The title track is a textural one, followed by a bit of nostalgic vocal standard. The sound shifts to a more post-bop feel, touches upon Disney again for a Miles Davis-inspired rendition of "Someday My Prince Will Come," and after an almost orchestral score, finishes on a modern and somewhat twisted rendition of "It's a Small World." The sound is a little less adventurous on this album than it was on the first, but it's still a highly refreshing take on the big-band idiom. Fine solos are provided throughout, though the way the band works together is perhaps a better indicator of the abilities showcased here. Fine playing, and even finer compositions lead this to be one of the better (and perhaps even one of the best) jazz releases of the year. ~ Adam Greenberg

Chris Walden (flugelhorn, drums); Tierney Sutton (vocals); Brian Monroney (guitar); Gayle Levant (harp); Katia Popov, Mark Sazer, Alan Grunfeld, Helen Nightengale, Pat Johnson , Jennifer Levin, Kevin Connolly, Sid Page, Jacqueline Brand, Roberto Cani, Roger Wilkie, Josephina Vergara, Tereza Stanislav (violin); Matt Funes, Brian Dembow, Keith Greene, Roland Kato, Thomas Dienner, Darrin McCann (viola); Trevor Handy, Kim Scholes, Larry Corbett, Stephen Erdody, Dane Little, Andrew Shulman (cello); Martin Tillman (electric cello); Kim Richmond, Jeff Driskill (saxophone, alto saxophone); Brandon Fields (saxophone, tenor saxophone); Tom Peterson (saxophone, baritone saxophone); Rob Lockart (saxophone); Till Brönner, Wayne Bergeron, Ron King, Carl Saunders (trumpet); Dana Kelley, Phillip Edward Yao, Steve Becknell, Brian O'Connor (French horn); Andy Martin, Alexander Iles, Arturo Velasco, Richard Bullock, Bob McChesney (trombone); Alan Steinberger, Frank Chastenier (piano); M.B. Gordy III (vibraphone, percussion); Ken Wild, Ian Walker (double bass); Gregg Field, Ray Brinker (drums).

No Bounds

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