By Donald True Van Deusen

A new CD by Barbara Montgomery, arguably the loveliest looking lady singing in Philadelphia prompted some subdued responses from me with fiery feedback from her that I thought might be interesting to share with the All About Jazz readers rather than simply providing another record review. Singers and musicians almost never get the chance to provide feedback to comments about their work when they are made so we decided as Cole Porter put it, "let’s do it."

Ms Montgomery is a singer I once described as an ice cream blonde with a black coffee jazz voice and I will stay with that description. She’s a west coast girl who spent some growing years in Vietnam courtesy of her world traveling dad and has worked from Philadelphia to Eastern Europe. Barbara worked as back-up crew on the Mike Douglas Show, plus singing with Harry Chapin and is music director for fitness guru Richard Simmons. She has worked with such top Philadelphia jazz figures as guitarist Jimmy Bruno and piano men Eddie Green, Sid Simmons and Dennis Fortune. Her grandfather, family legend has it, was the prototype for Jack London’s "The Sea Wolf." I first heard her several years ago when she sounded a lot like June Christy with a provocative jazzy slur and kick to her voice and songs. She’s a savvy singer and she's web savvy as well (has her own site at http://www.bjazz.com).

Her new CD, "Ask Me Now," includes guitarist Steve Giordano (who also did all the arrangements) plus Bob Meashey ,trumpet and flugelhorn; his brother, Steve on bass; and Bobby Shomo on drums. It includes everything from Sting’s "Shape of My Heart" to Bronislaw Kaper’s "Invitation" and Thelonious Monk’s "Ask Me Now" and the Brazilian "Estate" along with such standards for such as me as "Skylark" and "Spring Can Really Hang You Up The Most". The latter song I feel has cast a spell over girl singers everywhere all of whom seem to sing it with an inevitability that is almost depressing.

And, now for the "he said, she said" part of it:

HE SAID: Barbara, I’ve played through the CD one more time with the sound up, no one in the house and my initial impression remains pretty much the same—that it all sounds too minor key or super cool as to be close to cryogenic. The group behind you obviously knows what it is doing and your singing style is clearly distinctive and arresting, but the mood is overpoweringly (to me) the same even with normally swinging tunes such as "Skylark." I liked "Once I loved," "Never Let Me Go" and "Skylark" but whether it’s a question of my being stuck in the past with the standards or the treatment here, I leave to you. No one is going to accuse you of playing it safe, but I would not expect any less from The Sea Wolf’s granddaughter. Love, Van

SHE SAID: Dear Van, I never expect you to pull any punches, but ouch! Cryogenic? Tell me what you really think…!You did get the idea of it all being in the same mood, which is what I wanted to do with this, but I’m sorry it’s not your cup of tea. Don’t listen to Shirley Horn’s "Here’s to life" or I’ll have to come with a blow torch!! It was very important to me to create a mood and sustain it, rather than go back and forth and up and down (do they call that a concept album?), and especially at this time in my life with the recent sadnesses and lessons learned of the last couple years—I had to do a contemplative, reflective treatment, true to my heart. So there it is. At least there are a few you like…you can just pick the ones you like to listen to….!Love to you, Barbara

HE SAID: Barbara, I feel about you like the verse to "Melancholy Baby," because when you sigh and when you cry, something seems to grip this very heart of mine. My comments on the danger of the mood were cold commentary reflecting concerns for the commercial potential although with most the market place dominated by six year olds with unlimited spending money I’m not sure what the market is. After all, only 2.5 per cent of the records sold are jazz and 2.3 per cent classical and there really is no classical pop left. I run a risk in not soft-soaping my remarks but my reasons were as indicated, concern for your making a buck out of all this as well as being true to yourself. You can whisper songs I don’t know in my ear any day of the week. Love, Van

SHE SAID: Dear, dear van—You must know how vulnerable we artist types are—I had hoped it wouldn’t be so obvious—the blood draining from my wrists, that is. I know we need tough skin to do this, but of course, unknown critics can do me no harm—you I care about immensely, and wanted to please very badly. So thanks for the kind words—you know I will sing in your ear all day---and night—if you but ask.

Will the CD be commercially successful" As you aptly pointed out, look what is controlling the marketplace, and look what is passing for music these days…if I can break even, it will be great. If it strikes a chord somewhere and takes off, that would be great too. If it helps get more performances in more places— …that will be a good thing too ….Is it a straight ahead commercially produced effort? No. But then again, neither am I! Love to you. Barbara

I have been writing jazz commentary for various publications for 40 years. Clearly, this is not intended as a CD review. It’s more like allowing you to listen in on a conversation between two people who care very much about the music and, for that matter, each other. You can get the CD and judge for yourself.