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Sadly, we'll always remember that day. Those who were at home had an opportunity to see it all in one fell swoop. What a day. Those who were traveling had to make other arrangements, and felt an immediate need to contact loved ones. Their prayers went out to those involved. Those of us who were at work managed, somehow. We kept informed, stayed in touch with our families, and still got our work done. A stiff upper lip had to hide our inner feelings, as we went about our business that day. Just like the work we've done for decades, our routines had to satisfy a keen desire to accomplish something meaningful. In spite of the threats facing us all, we continued with our life's mission.
The Beegie Adiar Trio was scheduled to record this album of romantic ballads that morning. By the time they arrived at the studio just outside Nashville, the three artists learned what was happening in New York, Western Pennsylvania and Washington, DC. And, like most of us, they decided that their work would help them get through the day. And the next.
The lush strings and studio orchestra were added later. Beegie Adair plays a melody with tender loving care. She embellishes, and allows her partners to fill. The result is a seamless session of smooth reflection. It's music for a rainy day and night. Many readers will remember this kind of lush, strings-and-studio-orchestra-session as popular LP material from the late 1950s and early 1960s. It worked then, and it works now.
Track Listing: Isn't It Romantic; I'll Take Romance; The Look of Love; I Left My Heart in San Francisco; The Way You Look Tonight; Let's Fall in Love; Some Enchanted Evening; These Foolish Things; What's New; Dancing in the Dark; P.S. I Love You; Smoke Gets in your Eyes.
Personnel: Beegie Adair- piano; Roger Spencer- bass; Chris Brown- drums; Jack Jezzro- guitar on "The Look Of Love," "Some Enchanted Evening" and "Dancing In The Dark;" The Jeff Steinberg Orchestra with Carl Gorodetsky, concertmaster.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.