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Veteran Bay Area singer Frank Jackson works with a stellar quartet on New York After Dark to interpret classic pages from the Great American Songbook. Recorded in November 2003, the session represents one of James Williams' final performances. Together, Jackson, Williams and crew fuse a veteran's allure with unique interpretations.
Singer Jackson delivers his message with a clarion tone. At 78, he remembers San Francisco's emerging bebop scene. As house pianist for Jimbo's Bop City, he got to know most of modern jazz's pioneers as soon as they hit town.
"Yardbird Suite" brings out Jackson's vocal specialty. Scat singing with a confident charm, he interprets the classic bebop piece naturally. Solos by Ron Carter and Kenny Washington give the arrangement a special ingredient as Jackson jams energetically. Williams supports with a lyrical touch. His effect on ballads such as "A Nightingale Sang in Berkeley Square" is one of romantic delight. Together, pianist and singer bare the emotions that this classic song affords.
Jackson's duet with bassist Carter on "Summertime" stands out as the album's high point. The song's original aura is taken to heart as both artists interpret with heartfelt passion. Several of the album's other classic pieces prove uneven as Jackson rehashes memories of lyrics that have stood the test of time. When presented straightforwardly, these pages from the Great American Songbook tend to go stale. Nevertheless, the singer and his stellar crew have given us a substantial look at some of our favorite songs. Like old friends, these songs leave an imprint that we'll not soon forget.
Track Listing: You Go To My Head; Autumn in New York; What Is This Thing Called Love; Summertime; You Are Too Beautiful; If I Should Lose You; A Nightingale Sang in Berkeley Square; Yardbird Suite; Baby I'm Yours; Oh You Crazy Moon; I See a Million People But All I Can See is You; Foolishly Yours; It's Monday Everyday.
Personnel: Frank Jackson- vocals; James Williams- piano, organ; Ron Carter- bass; Kenny Washington- drums; Billy Pierce- soprano saxophone, tenor saxophone.
Year Released: 2004
| Record Label: Kasis Records, LLC
| Style: Vocal
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.