We last heard from vocalist Carol Fredette on her first Soundbrush recording, Everything in Time (2009). Her repertoire was replete with, "Light latin jazz, humid islands, and secure mainstream treatments." Fredette remains fairly true to this mix of styles on No Sad Songs For Me, specifically addressing all songs of upbeat content, if not tempo. The singer calls upon much the same band as on the previous recording, specifically pianists Helio Alves, Dario Eskenazi and Andy Ezrin.
It is notable that No Sad Songs For Me is executive produced by Pablo Aslan and Roger Davidson, two names closely associated with Latin jazz and bossa nova, styles that potently inform Fredette's repertoire here. Fredette is serious about the title and title tune for this recording. It is surprising she included Jobim's "Double Rainbow" and not his "No More Blues." These songs are upbeat and the universal mood of this recording is supercharged positive.
Fredette commands Bob Merrill's "It's Good to be Alive" and Irving Berlin's "The Best Thing for You." The former she treats as a delicate ballad and the later Latin-infused and simmered on high heat, Kevin Winard's percussion being particularly effective. The Cahn-Van Heusen chestnut "To Love and Be Loved" is gently rendered as a perfect cocktail hour ballad. Fredette's support is solid and competent, providing the singer an environment for her pristine vocal delivery of this most attractive recital.
Track Listing: I Am In Love; No Sad Songs For Me; The Best Thing for You; To Love And
Be Loved; You’d Better Love Me; Double Rainbow; You’re Getting to be a
Habit With Me; Havin’ Myself a Time; This is Always; Dancing In The
Dark; Long Ago and Far Away; You Better Go Now; No Regrets.
Personnel: Carol Fredette: vocals; Helio Alves: piano (1, 7, 11); Dario Eskenazi:
piano (4, 5); Andy Ezrin: piano (2, 3, 6, 8, 9, 10, 12, 13, 14); David
Finck: bass; Kevin Winard: drums, percussion; David Mann: saxophones,
flutes; Tony Kadleck: trumpet; Michael Davis: trombone; Bob Mann:
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.