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Dianne Reeves and Sarah Vaughan have a lot in common. They share an emotional, from-the-heart form of communicating with an audience. A full, rich vocal tone and dramatic spirit bring them closer together with every phrase. Both appreciate a beautiful song, and both augment their presentations with unique, wordless vocal styles.
With a full string orchestra on every track, Reeves unleashes a program of stirring musical arrangements. Billy Childs, a bright guy with forward-leaning ideas, created most of these unique arrangements. The harmony and rhythm is a far cry from average. Reeves is at home with these arrangements, but you get the impression she's holding back. The drama of two Brazilian pieces brings out her emotional strengths most effectively. Dori Caymmi's "Obsession" and Milton Nascimento's "The Call" feature wordless chanting with a powerful hook.
Throughout the session, interludes by Steve Wilson, Clark Terry, Russell Malone, Romero Lubambo and both pianists enhance Reeves' tribute project. Except for Clark Terry's appearance on "I Hadn't Anyone 'Til You," the album was created live in the studio. Terry, who fills in with trademark vocal asides and a lovely, wah-wah trumpet solo, added his "touch" from across the continent after receiving a tape. The veteran makes it sound as if they're sharing the same stage. Ella Fitzgerald, Carmen McRae, Frank Sinatra, Joe Williams and Sarah Vaughan, are all gone now. We wish they could be with us forever. Their recordings remain, and Reeves' tribute helps preserve the memory. As Clark Terry says on the album, "Yeah, well ya got me now, baby. Everything's cool. Everything's cool."
Track Listing: Lullaby of Birdland; Send in the Clowns; Speak Low; Obsession; If You Could See Me Now; I Remember Sarah; Key Largo; I Hadn
Personnel: Dianne Reeves- vocals; Mulgrew Miller, Billy Childs- piano; Reginald Veal- bass; Greg Hutchinson- drums; Romero Lubambo- acoustic guitar; Munyungo Jackson- percussion; Steve Wilson- soprano saxophone, alto saxophone; Russell Malone- acoustic guitar on "Embraceable You;" Clark Terry- trumpet solo & added vocals on "I Hadn't Anyone 'Til You;" Orchestra: Assa Drori, Igor Kiskatchi, Dennis Molchan, Brenton Banks, Irma Newmann, Shari Zippert, Robert Sanov, Elizabeth Wilson, Henry Ferber, Henry Gronnier, Anatoly Rosinsky, Jennifer Munday- violin; Thomas Diener, Lynn Grants, Robert Berg, Gina Dorman- viola; Daniel Smith, Maurice Grants, Cecilia Tsan, Eric Goenslen, Armen Ksajikian- cello; Don Shelton, Greg Huckins, Dick Mitchell, Bill Liston, Beverly Dahlke-Smith- woodwinds; Richard Todd, Steve Becknell, Joe Meyer, Jim Atkinson- French horn; Wayne Bergeron, John Fumo, Rick Baptist- trumpet; Andy Martin- trombone; Carol Robbins- harp.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...