Covering the Great American Songbook can be tricky, thankless work for a singer. The options for handling the material just aren't as numerous (i.e., nigh infinite) as they are for instrumentalists. Severely warping a melody, chopping it up or getting rid of it altogether work perfectly well if you're blowing through a horn. But such abstractions of voice can seem forced or simply too weird within a straight-ahead format. There's scatting, of course, and other forms of nonverbal vocalization, but they rarely score on the same level as instrumental solos, and they can turn stale or quaint-sounding pretty quickly.
Enter Cyrille Aimee. Over the course of the last several years, the French singer has established herself as one of the more innovative interpreters of this music. Her sound is classic, tinged with the exotic. Her vocals thrill with technical proficiency, yet don't lack emotional nuance. Yes, she scats (quite a bit, actually), but as a naturaland very instrumentalextension of her verbal singing. All her skills are on display here, allowing her to mix exceedingly well with the Chicago Jazz Orchestra . It's notable that track particulars list Aimée as a soloist like any other in the band. For while she certainly has a more prominent position in these performances than singers often did in the heyday of big band music, where they might come in for a verse or two at the end after the big-gun instrumentalists had had their say, this album is by no means simply an Aimée vehicle with CJO assigned to the boiler room. Through both its orchestrated sections and plentiful solo statements (pianist Dan Trudell is a particular standout) the band plays just as prominent a role as Aimée.
As the album's title suggests, the performances tend toward big, brash swing. Many of the arrangements come from the band's artistic director, Jeff Lindberg, though other band members lend a hand as well. Still other arrangements are adapted from the likes of Duke Ellington and Count Basie. Fans of Frank Sinatra's work with Antonio Carlos Jobim will be intrigued or distractedperhaps bothby Lindberg's faithful use of Claus Ogerman's arrangement of "Dindi."
Aimée has recorded a handful of these songs before, albeit in smaller settings. And her approach certainly changes to adapt to the grander backing, her style a bit less free, more refined, with even some of her scatting dialed back to play as but another instrument in orchestrated section pieces. Again, group sound is emphasized over the individual. And all in all, CJO and Aimée have produced a compelling, highly enjoyable recorda testament, of sorts, to the continuing power of straight-ahead big band jazz in the contemporary music world.
Track Listing: What a Little Moonlight Can Do; September In the Rain; A Night In Tunisia; Sometimes I’m
Happy; Dindi; Yardbird Suite; Easy Living; Cheek To Cheek; Long As You’re Living; Them
There Eyes; I’m Through With Love; It Don’t Mean a Thing (If It Ain’t Got That Swing).
Personnel: Jeff Lindberg: artistic director, conductor; Charley Harrison: associate artistic director; Cyrille
Aimée: vocals; John Wojciechowski: alto sax, flute; Bill Overton: alto sax; Scott Burns: tenor
sax; Eric Schneider: tenor sax; Jerry DiMuzio: baritone sax, flute, alto flute; Danny Barber,
Doug Scharf, Marquis Hill, Art Davis, Victor Garcia: trumpet, flugelhorn; Scott Bentall, Tom
Garling, Kendall Moore, Andy Baker: trombone; Michael Young: bass trombone; Dan Trudell:
piano, Fender Rhodes; Dennis Carroll: bass; George Fludas: drums; Charley Harrison: guitar;
Lisha McDuff: flute, alto flute; Darlene Drew: flute, alto flute; Janice MacDonald: flute; Lyon
Leifer: flute; Daniel Won: clarinet, bass clarinet; Jennifer Cappelli, Eugene Pazin: violin, co-
concertmasters; Bernardo Arias, Karl Davies, Pauli Ewing, Roberta Freier, Katherine Hughes,
Whun Kim, Betty Lewis, Carmen Llop Kassinger, James Sanders, Paul Zafer: violin; Patrick
Brennan, Matthew Mantell, Cheryl Wilson: viola; Barbara Haffner, William Cernota, Jocelyn
Davis-Beck, Edward Moore: violoncello; Robert Kassinger: double bass; Marcia Labella: harp;
Steve Ramsdell: acoustic guitar; Rubén Alvarez: bongos, shaker.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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