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We orignal diehard Beatles fansthose of us who came of age during and just after the '64 British Invasiontend to cringe at the mention of Beatles jazz albums. There's a certain sanctity associated with the music of the Fab Four; and who among us hasn't encountered an uninspired and blandly arranged Beatles knock-off?
Certainly there have been some successes: trumpeter Wallace Roneywith Tony Williams' band and on his ownseems to have an affinity for Lennon/McCartney tunes; and the Either/Orchestra just last year recorded a rollicking Latinized verison of George Harrison's "Don't Bother Me (No Me Molesta)." But these are single offerings on otherwise mainstream jazz CDs.
An entire set of Beatles tunes, jazzified?
My cringe was premature; vocalist Connie Evingson's Let it Be Jazz is an inspired, facinating, fresh take on thirteen Lennon/McCartney classics. The songs are rendered in Beatle-esque fashion, not in sound or pop sensibilities, but in the individual treatments given each tune in terms of arrangementsort of the way John, George, Paul and Ringo were recording albums back in '66.
It's obvious that a great deal of thought and care went into each arrangement, with some interesting Beatle-isms showing up on unexpected tunes: a George Harrison-like sitar behind Evingson's scat chant that opens McCartney's "Blackbird"; a "Come Together" flutter drum on "Can't Buy Me Love."
"The Night Before" from the overlooked Help album is given a reggae treatment and Evingson transforms "Can't Buy Me Love" from the boys' in-you-face statement to a slinky groove. If you don't fall in love with Connie E. when she purrs "I'll give you all I've got to give, if you say you'll love me too," there's no Help for you.
"I'm Looking Through You" features wonderfully laid-back trombone work (by Mike Nelson), like soft thunder rolling around Dave Singley's crackling guitar work.
Evingson's intonation throughout is rich and mellifluous, a counterpoint to Mary Louise Knutson's crisp piano accompaniment. Knutson is a constant in shifting mix of musicians, a perfect percussive glue to hold the sound together.
And a bonus: a great cover photo, Evingson looking sassy and sixty-ish (the decade, not her age) in basic black, holding a polkadot umbrella and wearing Beatles boots. Oh Darlin!
There's a Beatles song (not on this CD) entitled "Don't Let Me Down." Connie Evingson doesn't. In fact, you could sayparaphrasing that song's lyricshe done it good. Actually, she done it excellent.
Track Listing: Blackbird, Wait, The Night Before, Can't Buy Me Love, From Me to You, Fixing a Hole, When I'm 64,
I'm Looking Through You, For No One, I Will, Oh! Darlin,' Got to Get You Into My Life, Good Day
Personnel: Connie Evingson—vocals; Mary Louise Knutson, Fulton Tashone—piano; Terry Burns, Anthony Cox,
Doug White—bass; Jay Epstein, Phil Hey, Marc Rio—drums; Dave Singley, Dean Magraw—guitars;
Dean Magraw—electric sitar; Dave karr, Kathy Jenson—sax; Mike Nelson—trombone;Daryl
Boudreaux—percussion; Dan Chouinard—accordion
Year Released: 2003
| Record Label: Self Produced
| Style: Vocal
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.