Were Bobby Short a woman and New York City's Café Carlyle a Dallas honky tonk, then he would be one Laura Tate playing a brand of roadhouse cabaret in her hometown. Tate's third recording (after Songs From My Suitcase (Self Produced, 2013) and Blue Train (Self Produced, 2014)), I Must Be Dreaming is a fine-tuned affair celebrating the songwriting of Californian Mel Harker. The result is a batch of well-conceived and well-behaved Americana that is both inventive and fun. Urbane and polite might be appropriate adjectives also. Harker's songwriting is as much the star here as Tate and the two make quite a pair.
Tate, channeling Harker's music covers a lot of ground, from the roadhouse country funk of "Snake Tattoo" to the New Orleans-Carribean tang of "No Place to Hide" to the Reggae-inflected "Counting Up The Ways." Tate excels on the "Cowboy Swing" pieces like the title tune, "Talk is Cheap" and "Cowboy Jazz." Tate sings with a jazz sophistication that has little of the unhinged abandon present in Mandy Lemons' or Eliza Neal's singing. This not a bad thing, offing the listener a larger plate of music from which to sample. The big band pieces make this recording sing.
Track Listing: Snake Tattoo; No Place to Hide; What a Way to Go; I Must Bbe
Dreaming; Dead End Road; Talk is Cheap; If Forever Should End; Cowboy
Jazz; Counting Up The Ways; Don’t Try to Talk Me Out of Loving You;
Too Blue; Hold On (The Edge of Your Love).
Personnel: Laura Tate: vocals; Terry Wilson guitars, bass drums, organ (7),
piano (2, 4, 9); strings (10, 12); Lee Thornberg: bass; Teresa
James: backup vocals; Wally Ingram: percussion; Billy Watts:
guitars; Paulie Cerra: saxophones; David Fraser: harmonica; Lewis
Stephens: keyboards; Jeff Paris: keyboards; Karen Hammack: piano;
Richard Millsap: timbales.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.