Aimee Allen's previous recording, her junior release, Winters & Mays. (Azuline Music, 2011) was a well-conceived offering from this Pittsburgh native. On Matter of Time, Allen brings her uncanny feel for jazz conception. The disc is slightly schizophrenic, with two competing centers of gravity: one in the jazz mainstream ("My Romance," "Out of Nowhere") and the Brazilian ("Matter of Time," "The Island"). For the latter, guitarist Romero Lubambo, provides all of the necessary humidity.
On the Bossa standard, "Corcovado" Allen and Lubambo share an intimate duet. Lubambo reserves his most delicate playing for Allen's perfect jazz alto voice. With an ornate introduction, Lubambo sets a gentle samba rolling over which Allen approaches the familiar lyric with a knowing grace. This is the fortuitous meeting to two instruments at the height of their considerable powers, coming together to celebrate a tried-and-true standard. I vote for a duet recording next time.
Track Listing: Matter of Time; Soul Cargo; My Romance; The Island; Close Your Eyes; New Day; Sometimes I Just Know; Out of Nowhere; Qu’est-ce qu’on est bien ici; In the Name of Love; Corcovado; The Space Between; Matter of Time.
Personnel: Aimée Allen: vocals; Romero Lubambo: guitar (1, 4, 9, 11); François Moutin: bass (2, 3 – 8, 10, 12, 13); Toru Dodo: piano and Fender Rhodes (2, 3 – 8, 10, 12, 13); Jacob Melchior: drums (2, 3 – 8, 10, 12, 13); Scott Ritchie: bass (1).
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.