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| Harry's Fight |
| Katie King |
| első megjelenés éve: 2008 |
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| (2008)
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CD |
| 3.736 Ft
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| 1. | Harry's Fight
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| 2. | Across the Universe
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| 3. | All or Nothing at All
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| 4. | 50 Ways to Leave Your Lover
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| 5. | Last Night
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| 6. | Do I Move You?
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| 7. | Alone Together
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| 8. | Come Together
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| 9. | Wayfaring Stranger
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| 10. | Throw it away
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| 11. | And Now
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| 12. | The Inch Worm
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| 13. | Here comes the Sun
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Jazz / Bop
Recorded: September 24-25, 2007, David Lange Studio, Fife, WA
Katie King - Arranger, Piano (13), Vocals
Bill Anschell - Arranger, Piano
Craig Flory - Clarinet (Bass), Flute, Saxophone
Jeff Johnson - Bass
D'Vonne Lewis - Drums
Katie King's first CD in almost a decade is a collection of songs that tell the story of late night soul searching and questioning. With the help of pianist Bill Anschell, bassist Jeff Johnson, drummer D'Vonne Lewis, and saxophonist Craig Flory, Katie travels her own direction telling her stories once again, with three new originals of Katie's including the title cut, new interpretations of the classic pop songs "50 Ways to Leave Your Lover", "Across the Universe", "Come Together", and paying respect to two of Katie's favorite jazz artists Abbey Lincoln's "Throw it Away", and Nina Simone's "Do I Move You?". "All or Nothing at All", "Alone Together", and Frank Loesser's "Inchworm," from the great American Songbook, only add to the rich texture of this collection.
* David Lange - Engineer, Mixing
* Rick Fisher - Mastering
She's not quite a torch singer, but you're likely to get that sense from the album cover and the American songbook selections. For her fourth album (and first in 10 years), Katie King plunges through some admittedly torchy pieces, but also includes a few rather catchy original numbers and adaptations of a few pop (primarily the Beatles) pieces. The album opens with an original that comes out a bit stuttered, almost in the realm of a slow rap with a jazz backdrop. After the first Beatles piece and the classic All or Nothing at All, she rearranges (with pianist Bill Anschell's help) Paul Simon's 50 Ways to Leave Your Lover, leaving an almost unrecognizable, but excellent piece of post-bop in her wake. On an old Nina Simone number, King gets a bit of oomph that's missing in her straight ballads as well as her stiffer spoken deliveries, and lets sax player Craig Flory jump out for a few bars here and there. She vamps it up strongly for Come Together, for a very nice effect over Anschell's sparse comping. Making her way through traditional pieces, another original, and a couple of classics, King finishes off with a solo version of Here Comes the Sun, again reworked heavily to good effect. While the band here (along with Flory and Anschell, bassist Jeff Johnson and new drummer D'Vonne Lewis) has an outstanding approach to every song, able to move from sensitive background accompaniment into full-fledged sound explorations a la Miles Davis' band, King stays stiff throughout nearly all of her deliveries. Her voice has a crisp sound that works well with the phrasing, but the phrasing itself rarely fits in well with the intended mix of croon and vamping that she really seems to be shooting for. The Beatles tracks may be worth the price of admission themselves, but the rest of the album comes off with more mixed results.
---Adam Greenberg, All Music Guide
Katie King
Active Decades: '90s and '00s
Genre: Jazz
Styles: Bop, Progressive Jazz
"I heard this record by Billie Holiday, and it stopped me in my tracks. It was like a voice from heaven speaking loud in my ears." A bit dramatic perhaps. Just eleven years old at the time of this revelation, Katie King nonetheless believes this experience started her down the road to a career as a jazz singer. Subsequently, as a teenager in Eugene, Oregon, King started to listen to those other doyens of jazz singing, Carmen McRae, Sarah Vaughan and Ella Fitzgerald, as well as to lesser lights as Carly Simon and Joni Mitchell. But it was the purveyors of jazz music who got her attention. During the 1980's, King began working with pop jazz bands. Then moving to the more active jazz scene of Seattle, she met and began to sit in with working jazz musicians like Jeff Johnson, Bob Nixon, Billy Wallace and Floyd Standifer. Honing her jazz vocal skills by working in local clubs around the Seattle area, King began to listen more to instrumental rather than solely vocal music as she carved out her own niche in the world of jazz singing. The result is a melodic sound with excellent phrasing and a voice that more than simply recites the lyrics, but caresses and massages them as well. Her first album, Mostly Ballads, appropriately an homage to Billie Holiday, was released in 1993. This was followed by Jazz Figures in 1994, One for My Baby in 1998 and Side Trip in 1999. Each album takes this engaging vocalist one step further to becoming one of the more accomplished song stylists on today's scene. The albums also show that she belongs among those good, contemporary singers out there working to fill voids created by the departure of Fitzgerald, Vaughan and McRae. Fill, not replicate, as these fresh vocalists have their own styles which they look to the listening public to buy into and accept.
---Dave Nathan, All Music Guide |
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