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His rich baritone voice, accurate musical ear and comfortable seamless phrasing make Giacomo Gates a singer with appeal, and his personal interpretation of lyrics gives his audience a convincing lesson. But there's a special twist to this performance. Gates has been bitten by the hipster bug. His passion for the vocalese of King Pleasure, Eddie Jefferson and Jon Hendricks is woven through each track.
His policy does not take Gates a step back in time. Instead, he and his ensemble have put a fresh face on this traditional theme. Senior citizens, baby boomers, Generation X-ersand whatever new label is now being appliedare all able to appreciate this traditional art in its new package. The lyric's message rolls off his tongue eloquently. Then Gates plunges into scat singing and vocalese. He'll imitate a trombone or a flute. Included in the session are vocalese interpretations of Illinois Jacquet's solo on "All of Me" and James Moody's solo on "Lester Leaps In."
Piano, bass and drums provide the singer with all he needs. Ray Drummond's comping and solos stand out for their unique swingability and smooth sheen. With such a versatile singer, they need only to perform naturally and Gates does the rest. Alto saxophone and guitar, while not needed for this program, serve to augment the timbral mix. Vic Juris infuses a credible blues hue into both the title track and "Hittin' the Jug."
You can hear Giacomo Gates at his web site . One listen convinces.
Track Listing: Summertime; I Told You I Love You, Now Get Out; Centerpiece; How High the Moon / Ornithology; You'd Be So Nice to Come Home To; All Of Me; Lady Bird; Route 66; Scotch & Soda; Lester Leaps In / I Got the Blues; Milestones; Hittin' the Jug / Swan Song.
Personnel: Giacomo Gates- vocals; Harold Danko- piano; Ray Drummond- bass; Greg Bandy- drums; Vincent Herring- alto saxophone; Vic Juris- guitar.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.