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| 3.740 Ft
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| 1. | You'd Be So Nice to Come Home To
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| 2. | Ace in the Hole
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| 3. | I Wish I Could Forget You
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| 4. | As Long as I Live
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| 5. | Song for Griffin
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| 6. | A Hundred Years from Today
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| 7. | Now's the Time
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| 8. | Ev'rything I Love
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| 9. | Heavenly
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| 10. | That Face
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| 11. | Chelsea Bridge
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Jazz / Cabaret, Traditional Pop
Barbara Carroll - Piano, Producer, Liner Notes, Vocals
Bill Moss - Assistant Engineer
Bucky Pizzarelli Guitar
Cynthia Daniels Mixing
Eric Kohler Design
James F. McGoon Photography
Jay Berliner Guitar (Acoustic)
Jay Leonhart Bass, Producer
Jim Czak Engineer
Jim Saporito Percussion
Joe Cocuzzo Drums
Randy Sandke Trumpet
Robert W. Richards Illustrations
Shirley Cowell Executive Producer
Tom Spahn Editing
On Carroll's 19th effort, she interprets some of her personal favorite songs (hence the title, taken from the Cole Porter number performed here). The record also dips into the songbooks of Stephen Sondheim, Harold Arlen, Charlie Parker and Billy Strayhorn. ~ Jason Ankeny, 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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