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:
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.