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Kérjen
árajánlatot! |
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| 1. | Steppin' In Minor
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| 2. | The Spanish Flea
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| 3. | Something Wonderful
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| 4. | Take Five
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| 5. | It Was A Very Good Year
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| 6. | Siete
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| 7. | Night Song
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| 8. | Fiddlin'
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| 9. | Matchmaker, Matchmaker
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| 10. | Organology
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| 11. | The House Of The Rising Sun
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| 12. | Just Us Two
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| 13. | Eleanor Rigby
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| 14. | Count Nine
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| 15. | Man And A Woman
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| 16. | A Whiter Shade Of Pale
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| 17. | Teddy Makes Three
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| 18. | These Blues Of Mine
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| 19. | What The World Needs Now
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Jazz / Soul-Jazz
Post-Bop
Hard Bop
Lounge
Recorded: Feb-Sep 1967
Anyone who likes the B-3 Hammond organ soul-jazz style and doesn't mind a bit of pop-lounge spice occasionally stirred into the sauce should check out this compilation. It combines Pitts' first two LPs, Introducing the Fabulous Trudy Pitts and These Blues of Mine (both from 1967), onto one CD. Introducing is a strong debut, divided between covers of pretty mainstream standards ("The Spanish Flea," "It Was a Very Good Year," "Matchmaker, Matchmaker") and gutsier straight soul-jazz, including four originals by Bill Carney, whose "Organology" is a highlight for its nervous, bopping edge. The languorous swells of the opening number "Steppin' in Minor" makes you think you're in for a set of swank lounge-jazz, but the pace quickly picks up, and Pitts really catches fire on "Take Five," ajamming a lot of notes into her improvisation without sounding self-indulgent. Pat Martino's guitar is graceful and sensitive throughout, and the trio of Pitts, Martino and Carney is embellished by Abdu Johnson on conga. These Blues of Mine employed the same kind of approach as her debut. Better-than-expected soul-jazz interpretations of contemporary rock and pop songs ("House of the Rising Sun," "Eleanor Rigby," "A Whiter Shade of Pale," athe theme from Man and a Woman) stood alongside jazz originals from drummer Bill Carney, with Pitts herself contributing "Count Nine." Pat Martino was again along to provide fine guitar accompaniment, with Pitts occasionally adding soul-pop vocals (as on "Eleanor Rigby"). It works best when they cut to straight burning soul-jazz groovers, though, as on Pitts' moody "Count Nine," aexecuted in a challenging 9/12 rhythm. This CD is billed to " Trudy Pitts with Pat Martino," although Pitts had sole billing on the original LPs.
---Richie Unterberger, allmusic |
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