If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
To paraphrase the claim once made by a well–known airline, Lisa Kelly loves to sing — and it shows. She’s clearly a Jazz singer too, altering melody, phrasing and tempo and scatting occasionally on Memories of Tomorrow to lend each song an invigorating new slant. Much as Kelly loves to sing, however, she graciously steps aside on four numbers to let hubby J.B. Scott and his colleagues have their say. Scott even does some scatting of his own (with a nod to Clark Terry) on the volatile closer, “Aggressive Passivity.” Scott wrote that one and the other instrumentals, “Annette’s Desire,” “Quasi Bop” and “Doin’ It Good.” Kelly raises the curtain with an up-tempo version of Cole Porter’s “Night and Day” on which she has fun with the melody and lyrics, scats a bit, and rides easily above the hard–working rhythm section. Rodgers and Hammerstein’s “My Favorite Things,” also taken at a rapid clip and featuring Scott’s muted trumpet and more incisive scatting by Kelly, is followed by Freddie Green’s Jazz classic, “Until I Met You” (a.k.a. “Corner Pocket”) and the first two instrumentals, “Annette’s Desire” (on which Kelly does shadow Scott’s mellow trumpet with wordless vocalese) and “Quasi Bop,” a nimble burner with Latin roots. Kelly returns with a sultry reading of “Black Coffee,” then takes the listener on a tranquil “Sea Journey” before opening up the Great American Songbook to freshen Harold Arlen / Johnny Mercer’s “That Old Black Magic” and Alan Jay Lerner / Frederick Loewe’s “I’ve Grown Accustomed to His Face.” Kelly’s last vocal (and one of her best), the pensive “Memories of Tomorrow,” is sandwiched between the quartet’s sunny readings of “Doin’ It Good” and “Aggressive Passivity.” While in operatic terms Kelly would probably be labeled a mezzo–soprano who sings pianissimo (in other words, she has neither exceptional range nor power), she makes the most of every asset, the most impressive of which is her deeply personal approach to every lyric. Kelly has spent a lot of time learning her craft and paying her dues — and it shows.
I love jazz because there are so many styles and ways to interpret the music--so much room for creativity.
I was first exposed to jazz at a very young age, listening to great artists such as Nat King Cole and Lena Horne.