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| 4.070 Ft
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| 1. | The Man I Love
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| 2. | The Man I Love [Take 2][*]
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| 3. | Something to Live For
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| 4. | You Came a Long Way from St. Louis
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| 5. | You Came a Long Way from St. Louis [Take 4]
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| 6. | The Devil Is a Woman
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| 7. | The Devil Is a Woman [Take 1][*]
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| 8. | Lass from the Low Country
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| 9. | Lass from the Low Country [Take 2][*]
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| 10. | Strange Fascination
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| 11. | Summertime
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Jazz / Dixieland, Ballads
Ada Moore - Vocals
Alonzo Levister - Arranger
Charles Mingus - Arranger
Hugh Bell - Photography
John LaPorta - Sax (Alto)
Oscar Pettiford - Bass, Bass (Acoustic)
Phil DeLancie - Digital Remastering
Tal Farlow - Guitar
One of the nice things about the Limited Edition line of Fantasy's Original Jazz Classics is its willingness to spotlight improvisers who were talented but little-known. Take Ada Moore, for example. Because the singer was so obscure, other labels wouldn't have reissued her work; Fantasy, however, obviously felt that she was perfect for a Limited Edition release on OJC. The focus of this 1992 CD is a seldom-heard session that Moore recorded for Debut in 1954. In addition to reissuing the contents of Debut's original Jazz Workshop, Vol. 3 LP, this CD contains four previously unreleased alternate takes. The lineup is nothing to complain about; Moore is joined by guitarist Tal Farlow, bassist Oscar Pettiford, and alto saxman John La Porta (among others), and Charles Mingus helps with the arrangements. Moore has a soulful delivery that is somewhere between Carmen McRae and Sarah Vaughan, although Jazz Workshop, Vol. 3 is more abstract than what either of them were doing in 1954. The arrangements combine jazz with European chamber music, and Moore's risk-taking pays off on material that ranges from "The Man I Love" and Billy Strayhorn's "Something to Live For" to the folk song "Lass From the Low Country." Meanwhile, "The Devil Is a Woman" is a moody Moore original that almost sounds like a combination of "Black Coffee" and "Blues in the Night." Like much of the music that the Modern Jazz Quartet was providing at the time, Jazz Workshop, Vol. 3 manages to be classical-influenced without sacrificing the feeling of the blues. This 1954 session didn't do much for Moore commercially, but it's worth checking out if you appreciate the third stream experiments of the 1950s. ~ Alex Henderson, All Music Guide |
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