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For Freddy Cole’s 84th Birthday, A Downbeat Feature From 2009 and a Liner Note From 2005

For grandmaster singer-pianist Freddy Cole’s 84th birthday, here’s a DownBeat feature I had an opportunity to write about him in 2009.

——

After breakfast on the second Sunday morning of this summer’s Umbria Jazz Festival in Perugia, the 78-year-old singer-pianist Freddy Cole, only a few hours removed from Saturday’s midnight show, considered a question about retirement.

“No,” Cole said. “No-no. No-NO.” He laughed, ha-Ha-HA, like a descending triplet. “A lot of people ask that. My golfing buddies say, ‘Man, when you going to stop?’ For what? To stay home and be miserable like you? Music keeps you alive.”

It was the final day of Cole’s 12-set, no-nights-off run at Hotel Brufani, a palatial hilltop villa that hosts the festival’s high-profile acts, among them Wynton Marsalis, Roy Haynes, Cecil Taylor, and George Benson, the latter on tour with his “Unforgettable Tribute to Nat ‘King’ Cole” project, which incorporated a septet and a 27-piece string orchestra. All of them dropped into the Sala Raffaello, a rectangular banquet room filled with white-tableclothed round tables, to hear the maestro sing and play the Fazioli piano with his trio.

“Damn near all of Wynton’s band was there,” Cole said. “I played with them the day before Obama’s Inauguration at Kennedy Center. The kids came grabbing me, called me the old man.”

“Cecil told me he hadn’t seen me play since Bradley’s,” Cole continued, referencing the prestigious Greenwich Village piano saloon where he played nine separate week-long engagements between 1988 and 1991, and a week apiece in 1994 and 1995. “Carmen McRae, who was a very good friend, used to come there all the time. She loved one of my tunes called ‘Brandy’—she’d say, ‘Do my song.’ I’d generally do it.”

At Perugia, Cole spent consequential time performing material—Benny Carter’s rueful ballad “I Was Wrong”; the Ella Fitzgerald-Ink Spots World War Two hit “I’m Making Believe”; Cole Porter’s insouciant “You’re Sensational”; O.C. Smith’s soulful flagwaver “On The South Side of Chicago”—from his new release, The Dreamer In Me [High Note]. But no set was the same, and Cole treated the flow in a conversational, free-associative manner, imparting the impression that even the most knowledgeable connoisseur of the Great American Songbook would be hard-pressed to call a tune that he doesn’t know. His brain seemed analogous to a generously stocked i-Pod on continuous shuffle, with each sound file comprising a well-wrought arrangement complete with harmonized piano-guitar voicings, sectional call-and-response, and shout choruses, each song rendered with such authority as to give the illusion that Cole had sung it every day for the previous year.

“Once I start to play, things happen,” he said. “Unless you stop me right then and there, I don’t know what I’m thinking about. Once I see from the body language that people are into what we’re doing, I’m home free. I can call whatever I want.”

As an example, Cole noted that on the previous evening, “for the first time in quite a while,” he had performed “I’ll Never Say Never Again,” a 1935 chestnut that Nat Cole had covered in 1950. The rendition was one component of a lengthy interlude, spontaneously triggered by a medley built upon “Tenderly,” during which he conjured a suite of his big brother’s good old good ones, segueing seamlessly from one to the next, evoking the elder Cole both in the timbre of his gravelly, septugenarian voice and his exemplary diction, never stiff or exaggerated. Cole imprinted each tune with the stamp of his own personality. A master of the art of compression and release, he swung unfailingly, didn’t scat, and avoided extremes of tempo and register. Perched sideways on the piano bench, he wore an ambiguous smile, simultaneously eyeballing his sidemen and the audience. He accompanied his declamations with unfailingly supportive, hip progressions; counterstated them with precise, pithy, bop-tinged solos that blended vocabulary drawn from the lexicon of, among others, John Lewis, Red Garland, and Erroll Garner; and phrased them with a bathos-free subtlety and unpredictable voice-as-instrument suppleness more akin to Billie Holiday, Carmen McRae, and Shirley Horn, than to his brother. The delivery, though, contained a panache and directness imbibed from such master male balladeers as Billy Eckstine and Joe Williams, both friends and mentors during his adolescence and young adulthood in Chicago. As the week progressed, the years dripped off his baritone, which grew more resonant and open.

“Their voices are exactly the same, but that’s genetic,” said singer Allan Harris, in Perugia to perform Nat Cole repertoire daily on an outdoor stage in the gardens that face the Brufani’s entrance. “That’s the way they were raised. Back in the day, the number one thing that a black entertainer needed to cross over into the white record-buying thing was that you could understand what the brother was saying. You had to speak the Queen’s language to perfection, even to the point of exacerbating it on stage. Not only does Freddy do that, but he puts his own little soulful twist on it, more than his brother did. There’s times where I prefer Freddy over Nat in that respect, because Freddy keeps the soul about him continuously through his performance.”

“With me, every song is a new song,” Cole said. “I don’t do them like everybody else does them. When I do seminars, I tell students about learning a song the right way—the way the composer wrote it. Then you do what you want.

“You’re not going to hear me scat either. A lot of people who do that are good singers, but my way of thinking is that they have great musicians with them—let THEM play. To me, BABA-BABA-DABA-DOP don’t mean nothin’. We had two great scatters, and that’s Miss Ella Fitzgerald and Louis Armstrong. After that, you could say Jon Hendricks and maybe Eddie Jefferson. They did it with taste and style. But now you have these younger singers who think that scatting makes them a jazz singer. Well, actually, what is a jazz singer? I have no idea. I would say Ella Fitzgerald was a jazz singer. Sarah Vaughan could sing anything, so they put the ‘jazz singer’ title on her. Carmen McRae was a great singer. But Carmen was a stylist, like Billie Holiday, and my brother, and Billy Eckstine. Lurleen Hunter, from Chicago. Johnny Hartman, who was a dear friend. You get a label put on you, like I say.”

It has been both Cole’s blessing and curse to be labeled “Nat Cole’s younger brother,”a descriptive to which, some decades ago, he penned the riposte “I’m Not My Brother, I’m Me,” which he sang ebulliently to transition into the final portion of his Saturday set. Indeed, as Harris pointed out, although Cole has drawn extensively on the Nat Cole songbook over the years on recordings, concerts, and special projects (he duetted with Benson on “I’m Biding My Time” on Perugia’s main stage), such an extended homage is indeed a rare thing.

Harris pinpointed an occasion in 1977 at a club in Atlanta—Cole’s residence since 1970—when Cole responded to his “mistake of asking for a Nat Cole song” with precisely the same musical answer. “Freddy did that song strongly, and with verve, and he did it demonstratively,” Harris recalled. “Not like he does it now—happy and so on. He didn’t really say he wasn’t about to do any Nat King Cole tunes, but after he finished it was put to rest that you didn’t ask Freddy for any of his brother’s songs.”

“Before I started to play at Bradley’s, I was really ‘Nat Cole’s brother,’” Cole remarked. “That’s about as blunt as I can put it. Or I was a ‘cocktail piano player,’ whatever that is. You get tied into one of these corners, and that’s all you’ll ever be. It’s been a long, hard, worthwhile, fruitful struggle—what’s the use of crying about it now? My brother was quite a man. I always say I’d rather be 10 percent of the man that he was than an entertainer. If he or my father said something, or gave you their word, that was it. I try to be that way. With all the years I’ve been out here, nobody can say that I didn’t pay anybody, that I ran out on a hotel bill. The old one of the ten commandments—do unto others as you’d have them do unto you—is a simple way to live.”

[BREAK]

The Dreamer In Me is Cole’s fifth recording for High Note in the past five years, and his eleventh collaboration with producer Todd Barkan, who first recorded Cole in 1993 on his breakout release, Circle of Love. His emergence over the past two decades from “Nat Cole’s younger brother” to the international stature of his golden years is one of the great second acts in the annals of show business.

“Besides Tony Bennett, Freddy is one of the last vestiges of that era where front men told a story with the song through the voice,” Harris stated. “He’s an older gentleman now, and his voice may not be as clear as it was 25 years ago, but his delivery is far beyond anyone younger than him. Freddy takes you on a magical journey. You forget about vocal styling. You forget about smoothness. He’s a master at what he does, and he doesn’t have to impress anyone. Most vocalists, including myself, take a whole song to get our point across. Freddy does it in one phrase. From all the years he spent in clubs, touring the world, and studying the American songbook, he completely understands where the composer is coming from, and stays true to it.”

Cole offers insight into the formation of his aesthetic in rendering O.C. Smith’s paean to the time “when jazz was king on the South Side of Chicago” with “all those little honky tonk joints, filled with people glowing while the cats was blowing.” Early on, when the family lived at 57th and Michigan, he met the Chicago’s prime movers and shakers through his brothers—not only Nat, but also Eddie Cole, a bassist and successful bandleader who had played in Europe with Noble Sissle, and singer-pianist Ike Cole (“he could flat-out play”), whose career comprised primarily long-haul hotel gigs. He began to play with the local luminaries towards the end of the ‘40s, after graduating from Waukegan High School where his promising football career—he was an all-state halfback as a junior—abruptly ended after a tackler stepped on his hand, causing a bone infection that led to an 21-month hospital stay.

“The medical term for it was tuberculosis arthritis,” Cole said. “My brother brought in a specialist from California. I had three operations in the same hospital, but instead of stitching it all up, they drained the bone. It had to heal. Every day for so many hours, I’d sit with this concoction that they put me in. Playing piano was therapeutic—it kept the flexibility in the wrist.”

Cole entered the trenches at 17, when trumpeter King Kolax, whose bands were a rite of passage for several generations of Chicago musicians, hired him for the piano chair. “I was struggling to keep up with the other musicians,” he said. “I was young and dumb. We thought we were hip. We thought we were playing bebop.”

After a four-year apprenticeship around Chicago while attending Roosevelt College, Cole moved to New York in 1953 for a semester at Juilliard, spent 1955 and 1956 at New England Conservatory, and moved back to New York in 1957. “I was playing jazz music before I got to school, and it was difficult to try to fit into this other mold,” he said. “If somebody come through with a gig, I’m out of there! Then I’ve got to go back and catch up. But I’m competitive. I’m a fighter. I will give out before I give up. Looking back, I wish I’d applied myself more. But I did what I had to do, and got my degree.”

He remained in New York for thirteen years, moving to Atlanta in 1970. Over the years, he worked the East Side supper clubs and steakhouses, “joints with the crooked-nose guys,” corner taverns and bars in the outer boroughs. “That’s when I was learning how to do everything,” Cole stated. “I got great advice from a lot of great people.” He referenced an early gig with ex-Ellington drummer Sonny Greer. “He would hold court every day at Beefsteak Charlie’s, where you’d see all the old-timers. Sonny told me, ‘Little Cole, you’ve got to learn how to be a storyteller. You’ve got to tell this story about this song.’ When you’re a little kid listening to the teacher read, Sonny said, she’d have you believing that story if she was really good. It took a while to get to what Sonny was trying to tell me. It really hit home when I was in Brazil in 1978—Brazilian singers sing as if they’re singing directly to you.”

There were other lessons. “Without saying it, most of those clubs were run by ‘the fellas,’” Cole said with a chuckle. “Some would be set up for a late night thing when they would all meet later in the evening, so you had to learn the ‘Set ‘Em Up, Joe’ type songs. Unrequited love. You’d see the girlfriend sitting there, etc. Also, there were the barmitzvahs, and other functions. Then you played clubs where it’s nothing but swinging, and some clubs where it was dancing. It was a total learning experience about how to play, what to play, and when to play it. The people that came into those clubs at that time knew what was happening. You weren’t fooling anybody. If you were messing around, you wouldn’t have the gig long. They knew the songs, and would ask about them, so if you didn’t know it tonight, you’d better know it tomorrow. There’s the expression, ‘Yesterday made me what I am today.’ That’s really true for me.”

It was evident from Cole’s forthcoming itinerary that he is as old-school in his “make the gig at all costs” attitude to road life as in song interpretation. Perugia was the last stop of a European sojourn, which began with engagements in Switzerland and Slovenia. He would resume his travels five days hence across the pond with a rapid-fire succession of East Coast bookings, before resuming his “rolling stone gathers no moss” lifestyle with various autumn travels.

“Freddy is invincible,” said Randy Napoleon, his guitarist. “The schedule in this band is more difficult than anything else I’ve done. We’ve done tours where we were out for weeks, traveling every day, getting up at 4:30 in the morning, driving two hours to the airport, catching a flight, maybe transferring and catching another flight—and then hitting. Or you drive nine hours in a van, and then get up and work that night. Freddy loves it. His famous quote is, ‘Let’s go.’ I’m a young man, I’m in good shape, but I’ll be bleary-eyed. Four-five hours of sleep, Freddy’s gone.”

“I’m like an old penny,” Cole said. “I turn up anywhere. That’s what I’ve done throughout my years in the business. I don’t look at myself as a so-called star. I’m just plain Freddy.

That’s all you can be.”

***************

Freddy Cole Liner Note (Once In A While):

“When you’re on that bandstand, you’re not a singer, you’re not a piano player—you’re a storyteller and an entertainer,” said Freddy Cole said over the phone from his Atlanta home.

That pithy self-evaluation rings true throughout Cole’s new collaboration with the Bill Charlap Trio, his seventeenth album since 1990, when, thirty-four years after his first LP, he recorded I’m Not My Brother, I’m Me, and launched one of the most notable second acts ever to occur in the jazz business.

“A rolling stone don’t gather moss,” says Cole, who turns 76 in October. Three days after completing a four-night run at Manhattan’s Iridium, he was preparing for a peripatetic summer schedule—seven Canadian jazz festivals in nine days, gigs in Latvia, Belorussia, and Germany, a couple of nights in small southern venues, a four-night hit at Washington’s Blues Alley, back-to-back two-nighters in Long Island and New Jersey, and one-nighters in Camden and Chattanooga.

Wherever he sings—elite venues like Jazz at Lincoln Center’s Rose Theater and Allen Room, or an Oscar Peterson tribute at Carnegie Hall, downhome rooms like the Congregational Church of Coral Gables, Rudy van Gelder’s recording studio— Cole adheres to the dictum by which he’s made a living over the last half a century. “It’s all about the lyric,” he says. “Musically, I don’t do any song I don’t like. Lyrically, I don’t do anything I don’t like. It’s like a double-barreled shotgun. If you’ve got great lyrics and great music, you’ve got a winner.”

Cole does not bother to mention that a great singer, which he is, is the third element of this winning combo. In point of fact, no one more definitively animates a lyric than Cole, who knows how to whisk the friendly experiencer into the world of a song—and so, so many songs!—with such apparent nonchalance. Indeed, the Cole effect is a phenomenon whose elusive qualities defy pinpointing. A few years ago, reviewing Merry Go Round, this writer gave it a shot.

“No conventional virtuoso, Cole with a minimum of affect conveys oceanic emotions on material—well-crafted Songbook and Contemporary Pop repertoire of the less traveled variety—loosely organized around love and loss and the ambiguities and longueurs therein that would sound bathetic and sentimental in lesser hands. The crooner is a mid-register man, with a voice that neither soars to cathartic heights nor lows through dark subterranean depths. He doesn’t scat, doesn’t wear his heart on his sleeve, never condescends to lyrics with archness or irony. He sings them straight, no chaser, with cool timing that hews to a personal inner clock, phrasing with an instrument’s fluidity a la Billie Holiday or Carmen McRae, articulating the words with lucid diction that evokes another Cole, his much-much older brother, Nat.”

Such qualities permeated Cole’s two previous sessions for High Note, on which tenorists Houston Person (Because Of You) and either David Newman or Eric Alexander (This Love Of Mine) and—in both cases—pianist John DiMartino counterstated his gravelly baritone declamations. Horns are absent from this eleven-tune recital, which features Bill Charlap’s pitch-perfect solos as the second voice. Throughout, Charlap, Peter Washington, and Kenny Washington—the equilateral triangle that is the Bill Charlap Trio—think as one with the maestro, anticipating his phrasing and inflections with an authority that suggests six months on the road with the leader, not sixty minutes of prep time in a studio. Now, Cole, who matriculated at Juilliard in the early ‘50s and earned a degree from New England Conservatory in 1957, is no slouch at providing his own piano obbligatos and comp, navigating stylistic routes mapped by his brother’s piano trios of the early ‘40s, and reinterpreted by such next-generation acolytes—and Cole friends—as Ahmad Jamal and Red Garland. But Cole is content to leave the heavy lifting here to Charlap.

“Even though I’ve played piano and sung all my life (I don’t know which came first), having someone else play frees you up to concentrate on just one thing,” Cole says. “But it also teaches you to listen, to see how someone else interprets a song, and whether you can live within the realm of what is happening. Occasionally, I will suggest a voicing, or let them know what I’m going to do in one spot or another. But for the most part, I just lay back, listen to where they’re going, and get in the cracks. A lot of people never really learn how to listen, but I enjoy it. Bill has his own approach, and I can live within the realm of what he does. With first-class musicians like him, Peter and Kenny, you’d better try to do something, because you don’t want to be messed up.”

A favorite of Tony Bennett, and himself the son of Sandy Stewart, a well-regarded band singer whose career began in the ‘50s, Charlap had previously worked with Cole on a concert at Manhattan’s 92nd Street YMHA, and on a Jazz at Lincoln Center project with his mother. On a trio gig at Dizzy’s Club Coca-Cola, he spotted Cole in the audience and invited him to do a song. “I did ‘Blame It On My Youth’,” Cole recalls. “That’s when the idea was hatched. Todd Barkan mentioned it, and I said, ‘Well, okay, if it happens, it happens.’ But we put the pieces together, and before you knew it the date was set. It’s just a collection of songs. We didn’t take the time to have any fancy rehearsals. Really, we just winged it.”

Adding to the degree of difficulty, Cole, who famously commands one of the largest repertoires of any singer, decided to address several songs—“How Do You Say Auf Wiedersehen?”, “You Could Hear A Pin Drop,” “My Ideal,” “There Are Such Things,” “I’ll Never Be The Same”—for the first time. His readings have the lived-in, elegant quality of a custom-tailored Savile Row suit.

Asked how he establishes a point of view on new material, Cole responds: “I like to know how the composer did the song. Once I get the music and how it was written, I can interpret within those guidelines in the way I phrase and approach the lyric, how I want to treat it. I don’t pay much attention to how other people sang them. These songs have withstood the test of time, and there are so many different ways to do them.”

For example, Gus Kahn’s ‘30s hit “I’ll Never Be The Same” “has an earthy feeling,” Cole says. He parses the lyric. “‘There’s a lot that a smile may hide. I know deep down inside. I’ll NEVER be the same. I’ll never be the same again.’ It really is a great thing.”

“I had known ‘My Ideal’ but never did it,” he continues. “Kenny Dorham was a dear friend; we both used to live on Dean Street in Brooklyn. One day I was in the car, on my way to the golf course or something, and heard Kenny Dorham playing this song on the radio [Quiet Kenny, New Jazz, 1959]. It brought back a memory.”

The “Chance Medley” comprises “Don’t Take Your Love From Me” (“a great standard that’s been sitting there”) and “I Never Had A Chance.“Milt Jackson used to sing ‘I Never Had a Chance,’ and it knocked me out,” Cole recalls. “That’s how I learned it. The only people I’ve heard sing it were Bags, Louis Jordan and Bing Crosby.”

Cole sings the verse to “Music Maestro, Please,” another Swing Era hit. “I do it occasionally,” he says. “I first learned it in Schenectady, New York. We were working opposite Coleman Hawkins, who could treat a ballad like crazy. He had Tommy Flanagan, Eddie Locke, and Major Holley and they were talking about it.”

“It goes back forever,” Cole says of “If I Fall In Love,” a Ben Oakland vehicle for Rudy Vallee with Paul Whiteman around 1930. “I almost did it for the Tony Bennett tribute CD, but there were too many choices, and we left it off. So I wanted to do it on this date.”

A big hit for Barbra Streisand that was subsequently covered by Marvin Gaye and Johnny Mathis, among other balladeers, “Why Did I Choose You” is from the 1965 musical, The Yearling. “I always liked the song, and I thought we’d take a stab at it,” Cole says. “I did it once with Bill and his mother in the Allen Theater in Lincoln Center, along with Frank Wess and the Washingtons.”

A favorite of jazz instrumentalists since 1937, when Tommy Dorsey’s version peaked at #1 for seven weeks, followed by a classic 1938 Louis Armstrong version, “Once In A While” is a song with legs. “It will probably turn around and be #1 again somewhere,” Cole says. “It’s a good song to apply at the right time. I do it every now and then, when I’m playing in a small nightclub, one of them tearjerker settings.”

Composed by Ralph Freed and Friedrich Hollander for the 1938 film Coconut Grove, “You Leave Me Breathless” received classic readings from, among other singers, Nat Cole and Joe Williams.“You find some great songs in these old movies—I stay up all night watching them sometimes,” Cole says. “The lyric to this one has just enough charisma—‘Hey, you know what? You leave me breathless?’—to lend itself to teasing an audience. I feel that every engagement should have some type of humor. I learned that from listening to other entertainers when I grew up.”

Connoisseurs of mid-century Black Chicago showbiz will know that Williams began his career as a singing bartender and then a band singer with drummer Red Saunders at the Club DeLisa, the legendary South Side venue. “I subbed two or three nights in that band for Earl Washington, who was the piano player,” Cole recalls. “Joe was a dear friend, a wonderful man, and I miss him.”

Asked which singers aside from his brother caught his attention during formative years, Cole immediately cites Billy Eckstine, whom he met while still in knee pants, when Eckstine, then singing with Earl Hines at the Grand Terrace, would visit his older brothers Nat or Eddie, himself a noted regional bandleader.

“When I’d come home from school, any of those guys might be hanging out with my brothers at the house,” Cole says matter-of-factly. “My mother would cook. It wasn’t any big deal to me.”

Listening to Tommy Dorsey on the radio during those adolescent years, Cole recalls, he heard Frank Sinatra and the Pied Pipers sing “There Are Such Things,” which gets an Ahmad Jamal treatment from the trio. Twenty years later, playing before Sinatra on gigs at Jilly’s, a midtown Manhattan club owned by Sinatra’s chum Jilly Rizzo, Cole learned “You Could Hear A Pin Drop” from its composer, Bobby Cole (no relation), who ran the house band.

“Bobby was a very clever musician,” Cole recalls. “I found an old cassette of his music laying around when I was going through some stuff, and I popped it in,” he recalls. “Years ago I used to play a lot in Jilly’s and little joints in Brooklyn and the Bronx for some of the fellas.”

Fittingly, Cole concludes with “How Do You Say Auf Wiedersehen,” a less-traveled, bittersweet lyric by Johnny Mercer, who was perhaps Sinatra’s closest friend during the ‘50s. Blossom Dearie covered it; so did Mel Torme with George Shearing, to whom Charlap pays homage on a poetic solo.

“Certain songs we do are arranged,” Cole says. “But you’re free to play whatever you want to when you’re improvising. All these great musicians are on the bandstand. I let them do what they do, and I do what I do. They play the solos. I sing. That’s that.”

 

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An Interview With Abbey Lincoln from 2001

Yesterday was the 81st birthday anniversary of the singer Abbey Lincoln—also known as Aminata Moseka, and born Anna Marie Wooldridge—who died last August 14th.

Like her inspiration, Billie Holiday, Lincoln was never out to prove that her voice was a great instrument — although, in its own way, it was. Never afraid to make a mistake, never self-censoring, she reached for what she heard. Usually it worked.

I had an opportunity to interview Ms. Lincoln for the bn.com website in February 2001, when her Verve album, Over The Years — one of many superb collaborations with the French producer Jean-Philippe Allard — was released. What follows is the unedited transcript.

Follow this link for her discography.

Abbey Lincoln (2-5-01):

In all of the records that you’ve done with Jean-Philippe Allard, you’ve had various magnificent tonal personalities intersecting with you.  How do you go about deciding who you’re going to work with and make music with for each particular project?

Well, I use my band, as usual, the trio that I work with.  It was Jean-Philippe who suggested Joe Lovano.  I hadn’t thought of him for the album.  But I’m glad he did.  He was brilliant.  And I asked for Jerry Gonzalez, because he worked with me before as a percussionist on an album called Talking To The Sun.  I didn’t know he played trumpet!  Jaz Sawyer, who is a brilliant musician and drummer, I asked him about a cello player, and he sent me Jennifer Vincent.  Kendra Shank came to see me one day, and we were having a little jam, and she played this song for me and I fell in love with it.

Did you do that much before the association with Verve; that is, intersect with other horns within your groups in the period directly before that?

People in Me.  In the album I made in Japan, Miles Davis sent me some of his musicians.  I asked him for his drummer, and he sent me Al Foster, Mtume and Dave Liebman.  I’ve always had a lot of help in the music.  When I was with Roach, I got to work with Coleman Hawkins.  My first album was with Benny Carter, and Marty Paich was one of the arrangers.  Jack Montrose as well.

But you know, it’s a happening.  I’m not that wise.  It’s like writing a song.  I start out at a point, and it gathers energy.  I’m fortunate, I think.

What usually comes first, the words or the music, when you’re writing a song?

It all depends.  Sometimes it’s the words.  Usually it’s the words, and sometimes the music comes much later.  But it’s a story that I hear, a point of view, and I have  developed it with the words and with the music.  But the words are really important for me.

Your songs on this record, are they all recent or do they come from different points?  Part of what I’m asking is:  Do you write for projects, or with each project do you select from a well of material?

I select from a wealth of material.  I don’t wait to record to write a song.  If it comes to me, I write it then.  “Bird Alone,” when I wrote that, I was in Japan, and Miles Davis was working there as well.  He wasn’t so well, you know.  And I thought I was writing it for him.  But it really was for myself.  Later on, years later, I finished the song and recorded it.

The records that you’ve done with Allard have been so rich…

Yes.

…in so many ways.  I wonder if you could speak about that relationship and the effect on your records.

I  think he is very, very bright.  He is a brilliant man, and he knows a lot about music, not only this form, but the Classical tradition and other forms.  He called me in 1989 and asked me what I wanted to do.  He never tried or suggested that I didn’t know what I was doing, and he wanted to help me to do what I was doing, and that’s what he’s done.  The first album was called The World Is Falling Down.  He brought me J.J. Johnson.  And I asked for Ron Carter.  So I get this kind of help from him.  I asked for Stan Getz, and he told me he would check it out.  So I’ve not been here alone.  Jean-Philippe is a great ally.  He told me that the newest album, Over The Years, he liked it a lot.  So a lot of it is due to an alliance with Allard.

In interpreting your tunes, how specific are you with the musicians?

They’re brilliant.

They help create the arrangements…

No.  They’re head arrangements.  In that way they help create them.  But I know how many choruses I’m going to use.  I know what key it is in.  And I write them.  So it’s me.

Does that develop on the bandstand over touring?

No! [LAUGHS] It’s not as if… They have lead-sheets, they learn the songs, and bring their understanding and their spirit to it.  So I don’t try and really control things — except that I do.  I like the tempo that I want.  Everything is about how I hear the song.  And they know how to interpret the song.  Brandon McCune is brilliant.  So is John Ormond, and so is Jaz Sawyer.  That’s my quartet.

Let me ask you about the notion of style, which I think is an insufficient word to describe the way you sing, or maybe I should call it the craft of singing.  I realize you’ve said these things before, but could you discuss  some of the singers you concentrated on when you were forming your singing personality, and a few words about them.

Well, I heard Billie Holiday when I was 14, on a Victrola, in the country where I was living.  She was always a great influence on my life.  She was social.  And she didn’t try to prove that she had a great instrument.  This is not the form for people who use that approach.  That’s the European Classical tradition.  We have voices.  Louis Armstrong was a great singer.  It has nothing to do with having a great voice.  So I had a chance to listen and to meet many of these great performers and singers, and I come from Billie Holiday, Sarah Vaughan, Ella Fitzgerald, all of these people.  I sing in that tradition.  I don’t try for anything they do, just like they didn’t try for anything that anybody else was doing, but interpret a song on a level of understanding and with skills, knowing where one is… They’re brilliant.  It’s a brilliant musical form.  The musicians are masterful when it comes to theory and harmony… Yeah.

So I’m not here alone.  I learned a lot about the music through Max Roach.  I didn’t know about Charlie Parker, I didn’t know who he was — or Dizzy or Monk or all these people.  Working with Max, I had a chance to meet some of these folks.  All of them.

You were just speaking about singing the song with understanding.  Could you say a few words about the songs not by you on Over the Years.  I’m interested in “Somos Novios.”

Yes!  That’s a beautiful love song.

And you sing it beautifully..

Thank you.  Armando Mazanero is the writer.  I’ve been singing this song for about 15 years, and in Spanish.  I’m not sure of everything I’m saying, but I know that it’s a love song.  We are lovers.  And it has nothing to do with motive or anything.  A pure love.  It’s one of my favorite songs.

The opening song “When The Lights Go On Again,” is one I’m unfamiliar with.

That comes from the Second World War.  When I was 12 or 13 or something like that, I heard that song.  I must have been in Kalamazoo at the time.  One day I was thinking, working on the album before I went into the studio, and  that line just came into my ear.  “When the lights go on again all over the world.”  I thought, “Wow.”  So I called the music store, and they sent it to me…or somebody brought it for me.  So it’s like an unconscious companion that is with me all the time, and whispers in my ear sometimes.

I have a certain memory of “The Windmills of Your Mind” with a certain connotation, but it’s certainly not the connotation that you give it.

Well, that’s the glory of a song.  It can have more than one meaning.

On Lovano’s solo he sounds like a windmill.

Yes.

“Lucky To Be Me.”

That’s the great Leonard Bernstein.  I remember singing that song years ago.  There was a brilliant singer named Mabel Mercer, and I heard her sing that on a recording, and I’d been meaning to sing it over the years, but I finally got to it.

And I was spellbound by the conclusion, by “Tender As a Rose.”  I was listening last night at about 1 in the morning over headphones so I could have you in my head overnight, and it caught me!

It’s the second time I had a chance to record it.  The first time was on an album called That’s Him, with Max and Sonny Rollins and Kenny Dorham, Paul Chambers, and Wynton Kelly.  I hadn’t had a chance to have it transposed, because Wynton did that for me.  We needed one more song, so I sang it alone, and I’m glad I did.  Phil Moore, the composer and the writer, was a brilliant coach whom I went to see a couple of times.  He was one of Lena Horne’s teachers.  So I added the last line.  “Well, that’s the way the story goes, and sometimes the rose was he.”  Joanne is here, too.  Joe isn’t the only one who is a stalker.  Joanne does that, too.  Know what I mean?  And leads a youngster astray.

I was actually about to ask you about the conclusion of the song.  Because not many women would really think to say something like that at the end of a song about evil men.

Well, women like to talk about a man.  This is what the songs always were when I came to the stage.  It’s about this man who she has to have, and how he treats her badly.  Well, I decided I’m not singing that any more.  If he’s nothin’, then that makes me nothin’ too.  Mmm-hmm.  So I sing, for the most part, the praises of a man.  He’s God and the Devil and she’s not responsible for anything! [LAUGHS] Well, anyway, I’m not playing that.

But I guess you were placed in that role a lot in the first stage of your career…

Yes.

…as far as having to sing that kind of material and project that type of image.

Yes.  I was following after the other singers.  Sarah was singing, “You’re mine, you; you belong to me; I will never free you.” [LAUGHS] I was singing the songs of the women who were prominent on the stage.  “Happiness is just a THING called Joe.”  And “My Man, he beats me, too, what shall I do.”  I thought, “Well, leave him.”  You know?  So I found my way to other conversations and to other things to address.

Another thing that’s fascinating to me is that your songwriting started in mid-life. 

It takes a while, I think, to awaken here.  I have been writing words, but I never saw myself as a composer.  And I would write lyrics to other people’s songs, like Oscar Brown, Jr.  So I wrote a lyric to Thelonious’ “Blue Monk.”  We hadn’t talked about it.  I didn’t ask him if I could write it.  But I just wrote it, because I felt that I knew what he was talking about, and it really touched me.  And he gave me permission to use it, to record it, and was instrumental… Because he was quoted on the liner notes to an album… They asked Max to do the liner notes when Straight Ahead was rereleased about ten years later.  And Thelonious was quoted as saying that I was not only a great singer and actress, but a great composer.  I had never written a thing.  I knew that he knew something that I didn’t know.  Because Thelonious was not a flatterer, nor a liar.  And it freed me up.  So when I heard “People In Me,” I used it.  I mean, I believed it.  It’s like a child’s song.  And the compositions get better and better for me, I think.

Also, in some of the articles, I remember reading of Monk telling you not to be too perfect.  I’ve heard other musicians relate that.  Benny Golson relating almost the exact same story, of Monk talking to him and saying “make a mistake; you’re too  perfect.”

Well, Roach was the one who said “Make a mistake.”  When I told him about it, Roach said, “He means ‘make a mistake.'”  It took me a minute…a while to understand that.  But what they meant was, you try for something.  If you crack, at least you tried for it.  Don’t be so perfect.  Yeah.  Make a mistake.  Mmm-hmm.  And that’s what this form of singing is all about.  I mean, you reach for something and it works. [LAUGHS] Yes.

You made a comment in a piece that Amiri Baraka wrote about you in Jazz Times that men… Well, you came up in a generation when everybody was a rugged individualist, and you couldn’t really be anything if you weren’t.  You made a comment toward the end of the piece that women have always been in the music, but the men have been out front, and you said, “the men have a hard time keeping a standard that’s individual.”

I didn’t say that.

Oh, you’re quoted as saying that.

That’s one of the reasons I really dread sometimes interviews.  Because I didn’t tell Amiri that.

The men, I say, have like a conception, and it’s a delivery.  They cannot run away from their work.  It’s something that they have to do.  A woman can get married and have a child.  She has other options.  But he delivers this work.  It’s him.  Yes.  And they all have a style that is their own.  If you’re not an individual, you can’t stand along the masters.  No, I didn’t say that.

But you just said what you said.

Yes.

In your bands you’ve nurtured a lot of the most individualistic younger musicians, like Steve Coleman and Rodney Kendrick and Mark Cary and the band you have now.  I just wonder if you have any sense of the struggles of this generation in maintaining their individuality against the incredible magnificence and weight of the tradition they’re trying to come out of, which you may represent to them as well.

I’ve never worked with greater musicians than the ones I’m working with now, the ones I’ve been working with.  They are not lauded and they are not rich yet in money.  But I remember when all of these folks weren’t either.  It’s always been kind of a secret society.  And the musicians are as great as they ever were.  There will never be another Charlie Parker.  Or John Coltrane.  That’s what this work affords us, is individuality, and that’s who you are, and there is nobody to replace you.  But Jaz Sawyer and John Ormond… Brandon McCune I got through Betty Carter, you know.  That’s how I inherited Marc Cary.  He worked with Betty.  She was a great teacher, I believe.  She taught them a lot about the work.  About on the beat! [LAUGHS]

A strict taskmaster, right?

Yes!  And it works, too.  Mmm-hmm.  So I am benefitting from her work.

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Filed under Interview, Singers

The Pile (#4), and raw copy of Karrin Allyson’s Blindfold Test from About Ten Years Ago

Coming in from several weeks on the road to back a new Concord release (her 13th on the label), entitled Round Midnight, singer Karrin Allyson enters Birdland tonight for a Tuesday-Saturday run.  I’m a fan. Like her idol, Carmen McRae, Allyson plays piano with more than an arranger’s touch, as she demonstrates throughout the date (bassist Ed Howard and drummer Matt Wilson join her long-time guitarist Rod Fleeman in an impeccable rhythm section). Perhaps this is one reason for her uncanny, sodium-pentothal like phrasing, which certainly serves the repertoire on Round Midnight, comprised of blue ballads and reflective, elegiac songs. Allyson  conveys the oceanic emotions with minimal artifice and a complete absence of mannerism or excess or bathos; her husky, lived-in, pitch-perfect contralto conveys a starkness that’s an aural analog to her  Great Plains (Great Bend, Kansas; Omaha, Nebraska; Minneapolis; Kansas City) background. Along with Gretchen Parlato’s The Lost And Found, it’s my favorite recording this year by a female vocalist. All the more interesting that, when coming up, Allyson was known for the cyborg chops she displayed when scatting at fast tempos (to hear what I mean, listen to Footprints, from 2006, on which she displays those skills with Jon Hendricks and Nancy King).

In 2001, in conjunction with Allyson’s release Ballads, on which she sang down the repertoire from the iconic John Coltrane-Johnny Hartman collaboration of that name, I had an opportunity to conduct a DownBeat Blindfold Test with Allyson. Here’s the unedited version.

* * *

1.    Kurt Elling, “Say It” (from FLIRTING WITH TWILIGHT, Blue Note, 2001) (4 stars)

I don’t recognize the voice.  It sounds a little like Mark Murphy, but I know it’s not Mark Murphy. [LAUGHS] I like it.  It sounds good.  It’s a very focused version of “Say It Over and Over Again.”  Cool little horn things behind it.  I’ll give it 4 stars.  I don’t know who it is, though.  Unh-oh, this is Kurt Elling.  But it sounds older than Kurt; I don’t think it’s him.  Maybe it is Kurt.  I’ll bet it is Kurt.  Interesting.  I didn’t even know he’d recorded this.  I like it. [AFTER] As I said at the beginning, it’s a very focused thing.  It’s not terribly romantic…but at the same time it is.  It’s not the typical romantic sound.  You don’t hear many singers do this song.  That’s what turned me on about Trane’s ballad album, because it’s not a typically romantic sound.  Like I said in the liner notes, it’s a deeper thing than simply romance.

2.    Luciana Souza, “Embraceable You” (from AN ANSWER TO YOUR SILENCE, NYC, 1999) – (2 stars)

Sounds like a Cassandra Wilson disciple.  I don’t know about disciple; that might be a little strong.  But she sounds influenced by Cassandra Wilson.  It’s kind of a cool arrangement.  Her pitch is a little off for my taste, so I give it a 2.  I really don’t know who it is.  But it’s creative, and I like that. [AFTER] Many Brazilian singers do have that trait about bending the pitch a little bit, and I do like her feel very much.  But for me, if you’re singing an American standard, maybe I’m just a snot, but it seems like maybe paying a bit more attention to the pitch would be a good thing.

3.    Billy Eckstine, “I Want To Talk About You” (from COMPACT JAZZ: BILLY ECKSTINE, Verve, 1962/1989) – (5 stars)

Is it Arthur Prysock?  No?  Do I get another guess?  Is it Grady Tate? [LAUGHS] It’s not Billy Eckstine.  Is it?  Yes?  On the third guess, I guess I knew it was Billy Eckstine.  It’s a bit more operatic than I’m used to hearing him present a tune.  “Operatic” may be the wrong word.  Because of that 12/8 Rock feel… It’s lovely.  I love it.  It’s classic.  I’ll give it a five.  I never really cared for the choir in the background, however, but that’s a whole other story.  That’s not his fault.  That’s the producer!  And the time, the year it was done.  Nat Cole did all that stuff.

4.    Norma Winstone, “Prelude To a Kiss” (from WELL KEPT SECRET, Koch, 1995) (Jimmy Rowles, piano; George Mraz, bass) – (3-1/2 stars)

Is that Dena de Rose”?  No?  It’s interesting to take “Prelude To A Kiss” as a waltz and spread out the phrasing so much.  It’s hard to do that.  And she leaves space, which is nice.  Her pitch is pretty good.  I mean, it’s very good.  Nice accompaniment.  They’re providing a nice groove for her.  I might like it better instrumentally this way than I like it for a vocalist.  But that’s totally subjective for everyone.  It’s not an insult toward her; it’s just a taste thing.  And in that way, instrumentalists have it easy.  Not easy, but that’s an advantage they have over vocalists, I think.  Because lyrics, the way you present them… Like I said, she’s spreading out the phrasing.  Because there are a lot of words to get in, but when you spread  it out that much, it goes quite a bit slower, of course… I’m trying to get used to this version of this tune.  I have no idea who it is.    3-1/2 stars.

5.    Jimmy Scott, “All Or Nothing At All” (from OVER THE RAINBOW, Milestone, 2001) (Justin Robinson, alto sax) (5 stars)

Jimmy Scott.  I didn’t think he did anything up!  I love Jimmy Scott.  This is cool.  Beautiful.  He’s somebody who knows how to paint a picture.  I can even see him singing this.  And I’ve never seen him live, so that’s kind of interesting!  He’s an artist.  I wish I’d heard this before I recorded my version of this…or before I recorded Trane’s version of this.  I like the alto player.  He has a really unique sound on his horn. [AFTER] I don’t have a problem with vibrato unless it’s insincere.  It depends upon the age of the singer, too, in a way.  Because physiologically, sometimes singers can’t help but waver.  I’m not speaking about Jimmy here particularly; I’m just saying in general.  So that’s a whole nother matter.  But vibrato I don’t have a problem with if it’s well-placed!

6.    Sarah Vaughan, “Every Time We Say Goodbye” (from AFTER HOURS, 1961/199_) (Mundell Lowe, guitar; George Duvivier, bass)

[AFTER A MINUTE] Is that Sarah?  Is that early Sarah?  Am I totally wrong, or is that Sarah?  Mid period Sarah?  She’s having fun with that tune with the breaks in the melody…as if this melody needs any more!  It’s so unexpressive! [LAUGHS] Only kidding.  Sarah’s got one of those trick voices.  She can go wherever she happens to think about, and she can think about a lot of things, so therefore she can sing a lot of things.  And she contains so much… I mean, she’s playing with you at the very end there.  “Bye-bye, bye-bye,” she’s playing with you.  At the beginning it’s a little playful as well because of the breaks in the arrangement in the middle.  And she’s just singing it straight, it sounds beautiful.  5 stars.  Was the guitarist Herb Ellis?

7.    Tony Bennett, “Out Of This World” (from JAZZ, Columbia, 1964/1987) (Stan Getz, tenor sax; Herbie Hancock, piano, Ron Carter, bass, Elvin Jones, drums) (5 stars)

[IMMEDIATELY] Tony Bennett.  I like this tune.  I used to sing this tune.  Trane did this?  I didn’t know that.  I may have to do another Trane CD!  What I like about Tony is his pretty much no holds barred approach to singing.  I suppose that’s the Italian Tenor in him.  But he’s not afraid of showing emotion.  5 stars.  There’s a lot of reverb on this recording, maybe a little too much for my taste, but that’s probably the time as well.  Is that Paul Desmond?  Is it a tenor?  All of a sudden I’m confused if it’s a tenor or an alto, for God’s sake!  Shame on me! [LAUGHS] I think it’s a tenor.  Is it Getz?  Okay, I never said Paul Desmond!  He was up there on that high register, though, with that tenor.  I have this record here!  I like Tony in this jazz context.

8.    Dena De Rose, “The Touch Of Your Lips” (from I CAN SEE CLEARLY NOW, Sharp-9, 2000) (4 stars) (DeRose, piano, vocals; Dwayne Burno, bass; Matt Wilson, drums)

[IMMEDIATELY] That is Dena, isn’t it?  I just saw her at a gig, and she’s been in my consciousness.  I heard her on Marian McPartland’s show.  It sounds nice.  Is she playing piano for herself on this?  My first version of this tune was by Tony Bennett.  I love this tune.  I like singing it.  This version is faster than it needs to be, but it’s swinging.  It’s nice.  That’s cool when pianist-singers will double their own line.  I attempt that myself sometimes.  She’s a good piano player.  I know that was her first instrument.  A real inventive solo.  I like that very much.  Four stars. [AFTER] As little as I know about Dena, and I like her musicianship very much, I know that she will find, the longer she does this, that her voice is more a part of her than she might realize.  She’s an artist in progress, and she’s going to have a good run at this wonderful music.

9.    Ian Shaw “If You Could See Me Now” (from SOHO STORIES, Milestone, 2001) (3 stars)

One of my favorite ballads of all time.  Why is that singer starting on the bridge?  Just kidding! [AT THE DOUBLE TIME] Don’t sabotage this beautiful tune!  No!!!  Oh, well.  It’s nice, though.  It’s tricky sometimes.  We took “It Might as Well Be Spring,” as many other people have too…a beautiful ballad, and we samba-tized it.  So it’s totally a matter of taste.  I think it’s very important… And this singer is doing it.  He’s enunciating.  When you do a tune fast and it has a lot of lyrics, it’s very important to understand those lyrics.  It’s almost like he’s  trying to keep his rhythm section entertained or something.  I know it’s not Al Jarreau, but he is Al Jarreau-influenced, I think…a little bit.  Is he the pianist?  No.  I don’t know.  It’s a little frantic for me, this version of this beautiful ballad.  I’d give it 2.  Although the singer’s performance is better than a 2, so I should give it more.  3 stars.  It’s almost like this singer is a theatrical performer.  He’s got a great feel.  He’s a good singer. [AFTER] Now that I’ve discovered it’s Ian Shaw, I did hear him on a live gig once and really enjoyed it.  It’s just not my preference to treat that tune that way, but like I said, it’s totally subjective.  I said before I know who he was that this was more of a theatrical singer, and I got that impression when I saw him live, too.  Maybe it’s that English drama, the Shakespearean influence he has from being British.  I don’t know.  Maybe.  He’s a real showman.  He was just with a pianist the night I saw him, and you can only do so much with that.  And that’s  good sometimes!

10.    Betty Carter, “My Favorite Things” (from INSIDE BETTY CARTER, United Artists 1964/1993) (5 stars)

This is Betty Carter, of course.  I love Betty Carter.  Talk about bending the pitch; she does it, too.  Not too much on this.  Betty is an original, very unique.  I feel like I learned a lot from this influence… I don’t know if it would be evident to anyone else.  But I saw her many times live, and she was so integrated with her rhythm section.  Because I feel like I am part of the rhythm section, not only when I’m playing piano but when I’m standing up singing.  She may have felt a little bit like that, too.  I don’t know.  But she’s totally original.  I love her.  5 stars.  And not any singer could get away with doing this kind of… Good for her.  Do that Indian EEYEEYEEYEE thing there.  That ain’t Julie Andrews singing it!  Yeah, good for you!  She’s great.  Not every singer could get away with what she does.

11.    Jeffery Smith, “Lush Life” (from A LITTLE SWEETER, Verve, 1997) (3 stars)

Pretty voice.  I like the conversational style he has at the end of his phrases.  It’s nice. [SWING SECTION] Unh-oh!  I’ve never heard “Lush Life” swung by a singer.  Shows you how much I know.  Again, I liked it on the verse.  It’s beautiful.  I’m not crazy about swinging this tune as a singer.  But I mean, albeit it’s a waltz, but he’s swinging it.  He’s got nice pitch.  3 stars.  I was sort of really digging the verse in that dreamy state, and I know everybody doesn’t like it if they don’t swing or don’t do it in a different way, but it sort of turned me around a little bit on it.  It kind of ruined my mood.  But I suppose it’s a great way to do it in a club where it’s really noisy! [LAUGHS] I have been there and done that!  That’s where we come up with all our different versions.  Pure necessity is the mother of invention.  Or non-invention.

12.    Shirley Horn, “It’s Easy To Remember” (from I LOVE YOU, PARIS, Verve, 1994) (5 stars)

[IMMEDIATELY] Shirley.  I was going to comment on the piano playing, but I should just wait… I love Shirley Horn.  I’ve never heard her do this either.  I love Shirley.  She’s another unique, beautiful interpreter of songs for me.  Her accompaniment, of course, is dreamy for her.  She takes a bath in her ballads.  She’s got all those suspended chords that always leave you…suspended as a listener.  5 stars

13.    Carmen McRae, “Speak Low” (from PRICELESS JAZZ: CARMEN McRAE, GRP, 1955/1997) – (5 stars)

Early Carmen!  I love Carmen.  She can do no wrong. [LAUGHS] Carmen has so much attitude in her singing and contains… She’s a little bit like Sarah, but Sarah is a little more on the romantic side — or can be.  But she can be sassy, of course, like she was given the name.  But Carmen has so much attitude in  her singing.  It contains all kinds of emotion within one phrase.  Yeah, I love Carmen.  Five stars.  I like this tune a lot.  I used to do it.  It’s a cool arrangement, too.  It’s fun.  I have no idea who it was.

14.    Billie Holiday, “Why Was I Born?” (from THE COMPLETE BILLIE HOLIDAY ON COLUMBIA: 1933-1944, 1937/2001) – (5 stars) (Buck Clayton, tp.; Teddy Wilson, piano; Benny Goodman, cl.)

“Why Was I Born,” obviously.  It’s not Louis Armstrong, is it?  Oh. [LAUGHS] Billie Holiday.  Of course.  Those are different changes at the end of the A-section.  It’s interesting.  Different chord changes than I know, anyway.  I never heard Billie’s version of this.  I guess this is THE version! [LAUGHS] I knew Coltrane’s version. [CLARINET SOLO] The Dixieland approach.  [When does this sound like it’s from?] The ’40s. [Who do you think the pianist was?]  Jimmy Rowles?  She used to work with him all the time. I have no idea.  Was it Buck Clayton on trumpet?  Was it Tommy Flanagan?  Teddy Wilson!  Oh, sure.  So you want me to give that a star rating?  5 stars. [LAUGHS] [So you’re more familiar with her later recordings.] Mmm-hmm.  Not so much the earlier stuff.  It’s a terrible thing to admit.  But I had to grow into Billie when I first started singing.  She didn’t hit me as quickly as Sarah and Carmen, Ella… Part of it is that I did hear her later stuff first, like Lady In Satin, things that now I really appreciate.  I think she’s somebody that you keep discovering.  She’s got layers.  She’s geologically got a lot of layers going on there.

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Filed under Blindfold Test, Singers, The Pile