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| I'll Be Seeing You - A Sentimental Journey |
| Regina Carter |
első megjelenés éve: 2006
64 perc |
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| (2006)
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CD |
| 4.161 Ft
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| 1. | Anitra's Dance
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| 2. | Little Brown Jug
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| 3. | Bei Mir Bist du Schön
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| 4. | Sentimental Journey
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| 5. | You Took Advantage of Me
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| 6. | St. Louis Blues
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| 7. | A-Tisket, A-Tasket
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| 8. | Blue Rose
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| 9. | This Can't Be Love
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| 10. | How Ruth Felt
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| 11. | There's a Small Hotel
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| 12. | I'll Be Seeing You
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Jazz / Post-Bop
Recorded: 2006
Regina Carter - Vocal, Arranger, Violin
Xavier Davis - (1-3, 5-12) Piano
Matthew Parrish - Bass
Alvester Garnett - (1-3, 5-8, 10-12) Drums
Dee Dee Bridgewater - (3, 9) Vocal
Carla Cook - (5-6, 11) Vocal
Paquito D'Rivera - (1-4, 6) Clarinet
Gil Goldstein - (1-3, 6, 12) Accordion
With I'll Be Seeing You: A Sentimental Journey, violinist Regina Carter, pays tribute to the memory of her late mother, Grace Carter, in a swinging journey through the some of the classic songs of the 1920s, 1930s and 1940s that her mother loved during her youth. With effervescent arrangements featuring dare-devilishly spontaneous improvisations and interplay between Carter and her bandmates, I'll Be Seeing You is a feel-good foray into the joys of small-group swing and classic mid-century songs.
For this album, her fifth for Verve, Carter is joined by Xavier Davis on piano, Matthew Parrish on bass, and Alvester Garnett on drums, and her special guests are vocalists Dee Dee Bridgewater and Carla Cook, Paquito D'Rivera on clarinet, and Gil Goldstein on accordion.
I'll Be Seeing You instantly captivates from the album's opener, "Anitra's Dance", by classical composer Edvard Grieg, in which Carter and her violin swing mightily, in the footsteps of The John Kirby Orchestra's 1939 small-group jazz arrangement. The brilliant unison interplay of Carter's violin, Gil Goldstein's accordion, and Paquito D'Rivera's clarinet vividly establishes the album's period feeling. This line-up continues in a high-octane "Little Brown Jug", a swinging hoe-down featuring more dazzling passages and playful solos from the three. Throughout the album, Carter's stand-out rhythm section is unfailingly inventive, nuanced and hard-swinging.
The irrepressible Dee Dee Bridgewater, arguably the greatest exponent of scat singing today, is featured on a rollicking vocal on the Yiddish tune that became an Andrews Sisters hit, "Bei Mir Bist Du Shoen," with a break-neck arrangement by the album's producer John Clayton showcasing virtuoso playing from Carter, Goldtstein, and D'Rivera. Bridgewater also performs the Rodgers and Hart gem "This Can't Be Love", and scats in exuberant call-and-response to the band.
Carter's fellow-Detroiter, Carla Cook, one of the today's most accomplished jazz vocalists, turns in stand-out performances on "You Took Advantage of Me", the W. C. Handy classic "St. Louis Blues", and an elegant "There's a Small Hotel."
Carter has been hailed by The Wall Street Journal as "one of jazz's most impressive musicians [with] dazzling solos [and] an impressive and diverse resume". The Los Angeles Times called her soloing "extraordinary, bursting with joyous swing" and DownBeat asserted "you can hear the inspired passion in her virtuosity". This has never been more true than on I'll Be Seeing You as Carter scales new heights of spontaneity and creative soloing. The CD includes the Ella Fitzgerald standard "A-Tisket, A-Tasket" and an upbeat and swinging "Blue Rose" (Duke Ellington's composition with wordless vocals for Rosemary Clooney), as well as a haunting arrangement of "Sentimental Journey" for violin, bass, and clarinet. The album closes with a passionately tender version of "I'll Be Seeing You" in a dream-like arrangement by Gil Goldstein.
On her previous recording, Paganini: After a Dream, Carter made history as the first jazz violinist ever to play and record on Paganini's historic Guarneri violin, receiving accolades for her effortless melding of classical and jazz idioms. In remembering her mother, Regina Carter recalls, with unfettered swing and virtuoso abandon, the primal joys of a classic era in American music. The familiar songs, sparkling arrangements, the all-out spontaneity and virtuosity of the playing, and the eloquently witty, playful improvisations, make I'll Be Seeing You a highly-accessible, feel-good album that most closely captures the exhilaration of Regina Carter's thrilling live performances.
Regina Carter is the most celebrated jazz violinist of our day, who has routinely been voted by critics and readers alike in the jazz magazines' respective annual polls as the #1 Violinist for the past decade. Her first two recordings as a leader were on Atlantic Records, the second of which, titled Something for Grace, was also dedicated to her mother. Her wide-ranging, critically-acclaimed CDs for Verve include Rhythms of the Heart, Motor City Moments, Freefall (a duet CD with pianist Kenny Barron), and Paganini: After a Dream. Carter is one of the most successful touring and recording artists in jazz, who maintains a busy touring schedule, and an ongoing participation in music education initiatives bringing music to children and schools.
Regina Carter
Active Decades: '90s and '00s
Genre: Jazz
Styles: Chamber Jazz, Fusion, Post-Bop, Mainstream Jazz, Classical Crossover
Violinist Regina Carter is a highly original soloist whose sophisticated technique and rich, lush tone took the jazz world by pleasant surprise when she arrived in New York from her native Detroit. And jazz fans weren't the only people who heard that mercurial quality in her playing: artists as diverse as Faith Evans, Elliot Sharp, and Mary J. Blige have employed her talents on their recordings, as has filmmaker Ken Burns on his soundtrack for The Civil War. Add this to an extremely long list of jazzers that includes Tom Harrell, Wynton Marsalis, and Oliver Lake. Carter began playing her instrument at age four and attended Detroit's prestigious Cass Technical High School. Upon graduating, she departed for the new England Conservatory of Music, only to return to Michigan to join the all-female jazz quartet Straight Ahead. After two recordings for the Atlantic label, Carter left the band in 1994 in search of a solo career. She had already been doing session work in the city and sought to make the move permanent. Carter found herself working with Max Roach, the String Trio of New York, and the Uptown String Quartet before recording her self-titled debut recording on Atlantic in 1995. Its mixture of R&B, pop, and jazz confused jazz fans and delighted pop critics. It sold well enough for her to record Something for Grace, which leaned in the jazz direction, though it featured R&B sheen in its production. Carter left Atlantic for Verve in 1998 and recorded two more outings under her own name, the last of which, Motor City Moments, is her finest session. In 2001, Carter recorded a duet session with Kenny Barron that has been universally acclaimed for its lyrical qualities and stunning range of dynamics and harmonic invention. She has since released the classical-influenced Paganini: After a Dream in 2003 and the American songbook album I'll Be Seeing You: A Sentimental Journey in 2006.
---Thom Jurek, All Music Guide |
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