  |
|
|
 |
| June's Got Rhythm |
| June Christy |
| első megjelenés éve: 2005 |
|
| (2005)
|
|
CD |
| 4.001 Ft
|
|
| 1. | Rockk Me to Sleep
|
| 2. | The Gypsy in My Soul
|
| 3. | I'm Glad There Is You
|
| 4. | They Can't Take That Away from Me
|
| 5. | It Don't Mean a Thing (If It Ain't Got That Swing)
|
| 6. | My One and Only Love
|
| 7. | When Lights Are Low
|
| 8. | I Can Make You Love Me (If You Let Me)
|
| 9. | Easy Living
|
| 10. | Blue Moon
|
| 11. | All God's Chillun Got Rhythm
|
| 12. | Baubles, Bangles, And Beads [*]
|
| 13. | Aren't You Glad You're You [*]
|
| 14. | Looking for a Boy [*]
|
| 15. | Small Fry [*]
|
Jazz
Vocal
Vocal Jazz
Show Tunes
Cool
Traditional Pop
Bob Cooper - Arranger, Oboe, Sax (Tenor)
Ed Leddy - Trumpet
Frank Rosolino - Trombone
Howard Roberts - Guitar
Joe Castro - Piano
Larry Bunker - Drums
Laurindo Almeida - Guitar
Leroy Vinnegar - Bass
Mel Lewis - Drums
Monty Budwig - Bass
Red Callender - Tuba
Russ Freeman - Celeste, Piano
Shelly Manne - Drums
* Brian Miller - Original Session Producer
* Gordon Jee - Creative Director
* Michael Cuscuna - Reissue Producer
* Patrick Roques - Art Direction, Design
* Ron McMaster - Mastering, Remixing
* Will Friedwald - Liner Notes
This swinging 1958 album features former Kenton vocalist June Christy in joyful voice on 11 great tunes, including two Benny Carter gems "Rock Me To Sleep" and "When Lights Are Low". The small group setting features husband/arranger Bob Cooper, Bud Shank, Frank Rosolino and Russ Freeman. Four tunes from the 1960 album "Cool School" with Joe Castro's quartet are added to the album. This album is on CD for the first time.
Will Friedwald's liner notes for this classy Capitol reissue attempt to finger the epicenter of June Christy's vocal magic but, as he states, comparing her to other female vocalists sometimes leaves Christy seemingly lacking in any one outstanding quality. She doesn't swing as hard (or play as hard) as Anita O'Day, she isn't as empathic as Ella Fitzgerald, doesn't legitimize her blues as well as Dinah Washington, and remains detached from the kind of tragedy that makes Billie Holiday's readings so emotionally charged. What Christy does have are confidence and smarts. Her intelligent readings, artful lyrical interpretation, and cool sense of rhythm make her performances seem effortless on the surface, but closer scrutiny reveals a musical sophistication few can match. Her work with Pete Rugolo, for example, pitted her against wild and unpredictable arrangements, but Christy's cool nature managed to keep the spotlight firmly centered on the front mic. June's Got Rhythm comes near the end of her stint with Capitol records (right before she hooked up with Rugolo again for The Song Is June!) and finds Christy in top swinging form. This reissue stays true to the original sequencing, but with the benefit of faithful remastering and deluxe repackaging. The small group setting allows Christy to take unconventional paths through (often overblown) numbers like "It Don't Mean a Thing (If It Ain't Got That Swing)" -- slowing down and speeding up the arrangement with O'Day-like abandon. "All God's Chillun Got Rhythm," as performed here, may be the most unique and adventurous interpretation this second-string standard has ever received -- creeping in tentatively then exploding into a sexy, swaggering crescendo. On the slow side, "Easy Living" brings Christy's brand of cool to bear on this Billie Holiday staple and the resulting stretched-out arrangement is luxurious and evocative. In addition to the original 11 tracks, Capitol has included a selection of four songs from Christy's conceptual children's record Cool School. This isn't just fluffy kid's stuff, though; Cool School is the most stripped-down album Christy ever made -- with just a four-piece rhythm section, and not one horn to be found. The Gershwin's "Looking for a Boy" is particularly well done, complete with Christy's cerebral rhythmic stylings and "cool as the other side of the pillow" vocal delivery. Perhaps this, and the other lavish Capitol reissues of her work, will spark some new interest in June Christy's downplayed talents and bring some light to what it is, exactly, that makes her style so effortlessly cool.
---J. Scott McClintock, All Music Guide
June Christy
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Nov 20, 1925 in Springfield, IL
Died: Jun 21, 1990 in Los Angeles, CA
Genre: Vocal; Jazz
Styles: Cool, Show Tunes, Traditional Pop, Vocal Jazz
Though she was the epitomy of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from arranger friends like Pete Rugolo. Rugolo would become a consistent companion far into her solo days too, arranging most of her LPs and balancing her gymnastic vocal abilities with a series of attentive charts.
Born Shirley Luster in Springfield, Illinois, she began singing early on and appeared with a local society band during high school. She moved to Chicago in the early '40s, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. In 1945, after hearing that Anita O'Day had just left Stan Kenton's Orchestra, she auditioned for the role and got it early that year. Despite an early resemblance (physically and vocally) to O'Day, the singer -- renamed June Christy -- soon found her own style: a warm, chipper voice that stretched out beautifully and enlivened Kenton's crossover novelties ("Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico") as well as the leader's intricately arranged standards ("How High the Moon"). As she became more and more popular within the Kenton band, arranger Pete Rugolo began writing charts with her style especially in mind. After the Kenton orchestra broke up in 1948, Christy worked the nightclub circuit for awhile before reuniting with Kenton for his 1950 Innovations in Modern Music Orchestra, a very modern forty-piece group that toured America. She had already debuted as a solo act the year before, recording for Capitol with a group led by her husband, Kenton tenor-saxophonist Bob Cooper.
Christy's debut LP for Capitol, 1954's Something Cool, was recorded with Rugolo at the head of the orchestra. The album launched the vocal cool movement and hit the Top 20 album charts in America, as did a follow-up, The Misty Miss Christy. Her 1955 Duet LP paired her voice with Kenton's piano, while most of her Capitol LPs featured her with various Kenton personnel and Rugolo (or Bob Cooper) at the head of the orchestra. She reprised her earlier big-band days with 1959's June Christy Recalls Those Kenton Days, and recorded a raft of concept LPs before retiring in 1965. Christy returned to the studio only once, for 1977's Impromptu on Musicraft.
--- John Bush, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
