One can visualize Kenny Davis, Billy Drummond, Brian Murphy, and Dave Valentin milling around a studio preparing to accompany a singer of renown, the label executives murmuring amongst themselves and with the conductor in the booth. Then the vocalist arrives, and beautiful music is made and duly recorded.
The difference about "Indian Summer is that the label executive, the producerand the singerare one and the same. Kudos to Danny Barrett for creating his second work independently. It's an expensive task and not without risk; especially with the use of talented musicians such as those who appear here. Indian Summer is distinctly Danny Barrettstraight, no chaser.
Listeners looking for highly stylized arrangements and delivery, scatting, and lots of vocal frills should steer clear of this record. Barrett can be compared to a fine well-aged bourbon, to be taken neat with perhaps a single ice cube. His style is similar to, but swings more than Vic Damone'severy word articulated, singing the song for the song, not the singer, with a minimum of fluffand just enough emotion applied where appropriate. His distinctive baritone and well-adjusted timbre are a change from the male singers in abundance these days who sing in a higher register.
Now, jazz fans looking for something new or outré should look elsewhere. Those who appreciate standards, however, will find themselves wanting to light a fire, kick off shoes, and cuddle on the couch to this album. It's about heartin fact, occasionally Barrett becomes too involved in his lyrics. He applies a touch more emotion than necessary, and some listeners may find that cloying or, for lack of a better word, too "cabaret. But forgive him. Barrett's a lyricist's best friend.
One peculiarity: described above are lovebirds nestling fireside. Barrett made a mistake by including the interesting, nostalgic, but certainly not romantic "Baseball Interlude (I Once Knew A Man). The spoken-word portions thereof are backgrounded nicely but distracting nonetheless.
Track Listing: Quietly There, Nothing Ever Changes My Love For You, Isn't It A Pity, They Say That Falling In Love is Wonderful, Baseball Interlude (I Once Knew A Man), I Cover the Waterfront, How Am I To Know, Blue Gardenia, Medley:You're My Everything/It Might As Well Be Spring/Indian Summer.
Personnel: Danny Barrett,vocals; Bill O'Connell,piano, arranger; Kenny Davis,bass; Billy Drummond,drums; Paul Meyers, guitar; Dave Valentin, flutes; Joe Magnarelli, trumpet/flugelhorn; Jerry Weldon,tenor sax; Brian Murphy, vibes; Daniel Sadowski, percussion; Enrico Granafei; James Randolph, narration.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.