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| 4.620 Ft
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| 1. | In Walked Bud
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| 2. | Zingaro
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| 3. | I Could Make You Care
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| 4. | Come Sunday
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| 5. | Can't You Do a Friend a Favor? [A Connecticut Yankee]
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| 6. | A Flower Is a Lovesome Thing
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| 7. | The Far Brook Boys
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| 8. | I'm in Love Again
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| 9. | One Morning in May
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| 10. | Nice Work If You Can Get It
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| 11. | Isn't It a Pity?
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| 12. | Bemelman's Blues
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Jazz / Standards, Traditional Pop
Barbara Carroll - Piano, Vocals, Arranger, Producer
Bill Meade Executive Producer
Jay Berliner Guitar
Jay Leonhart Producer, Bass
Jim Czak Engineer
Joe Cocuzzo Drums
Ken Peplowski Sax (Tenor), Clarinet
Kevin Canfield Back Cover
Lisa Schiff Executive Producer, Liner Notes
Michael Caprio Cover Art Concept, Package Design
Randy Sandke Trumpet
Barbara Carroll is one of the pianists that only New York City grows. There has been a long line of these sophisticated, stylish, elegant producers of music including Buddy Weed, Cy Coleman, and Bobby Short holding court in some lounge or room at one of the more upscale hotels. Like Short, Carroll also sings, delivering the lyrics in a smoky, highly personalized torch song as on "Can't You Do a Friend a Favor?" But the piano is the instrument where she makes her major musical statements. Once a disciple of Bud Powell, who was uptown, Carroll apparently decided that downtown was more to her liking. So over the 50 years or so that she has been recording, starting in 1949, there has been a movement away from the complexities of Powell's playing while still retaining the great pianist's elegant way with the melody line. You hear Powell influences on such tunes as "One Morning in May," "In Walked Bud," and "Zingaro." Carroll has earned the respect to be able to draw some of New York's top-notch jazz musicians into the studio with her. There's Ken Peplowski adding his mellow, woody clarinet on "I'm in Love Again," tenor sax on "I Could Make You Care," as well as the trumpet of Randy Sandke on "Bemelman's Blues." Her rhythm section partners, Joe Cocuzzo and Jay Leonhart, are among the Big Apple's first-call drum and bass players, respectively. One Morning in May offers more than 65 minutes of polished jazz performed by some of the best the genre has to offer. It's nice to know there they are still jazz musicians out there like Carroll who can add class to the music without detracting from its improvisational base. Top-drawer stuff and highly recommended. ~ Dave Nathan, All Music Guide
Barbara Carroll
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Jan 25, 1925 in Worcester, MA
Genre: Jazz
Styles: Bop, Cabaret, Standards, Traditional Pop, Vocal Jazz
In the year 2005, Barbara Carroll could boast that she has began playing piano for a grand total of 75 years. Not without a pause to sleep and eat, obviously, but with a determination that might suggest such extremes. Born Barbara Carole Coppersmith, she began the instrument at only five-years-old and went on to classical training three years later, eventually graduating from the New England Conservatory. In terms of professional stagecraft, her initial training ground was a USO tour during the second World War in which she was part of an all-girl trio. This was quickly followed by leading her own trio on New York City's famous lane of jazz, 52nd Street, where she adopted her middle name of Carole as a stage name. The pianist was associated with such fine players as guitarist Chuck Wayne and bassist Clyde Lombardi, but what would develop into an extensive discography began in 1949 with a recording session backing up multi-instrumentalist Eddie Shu for the Rainbow label.
Among female piano players, Carroll is known as the first to venture into the progressive bebop style that was especially associated with Bud Powell. Unlike the infamous Billy Tipton, Carroll also did not think it was necessary to hide the fact that she was a woman in jazz -- but this was New York City, not Oklahoma or Washington state. Not that Carroll had an easy time in a genre dominated by men. "People tended to put you down before they ever heard you," she has commented in interviews. "If you were a girl piano player, the tendency was to say: 'Oh, how could she possibly play?' You never even got a chance to present what you could do. But then, if you did prove yourself, it almost became a commercial asset, in a sense; you were regarded as unique."
One audience that found Carroll to their liking was the high society crowd, becoming enamored with her during an extended run at the ultra-chic Embers supper club. Her group at the latter venue included the bassist Joe Shulman, whom she married in 1954. Carroll did not ignore the pop styles of subsequent decades, yet always managed to keep a strong jazz flavor present in whatever material she performed. If swing was a bay leaf, it would be said that Carroll has a large bush growing right outside her kitchen window. She has recorded for many of the best labels in the genre including Verve and Atlantic and continues to be in demand at clubs and cabarets. Carroll works as an actress on occasion, such as the Broadway play entitled Me and Juliet.
--- Eugene Chadbourne, All Music Guide |
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