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| Patty Waters Sings |
| Patty Waters |
| első megjelenés éve: 1998 |
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| (2009)
[ DIGIPACK ]
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CD |
| 4.620 Ft
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| 1. | Moon, Don't Come Up Tonight
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| 2. | Why Can't I Come to You
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| 3. | You Thrill Me
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| 4. | Sad Am I, Glad Am I
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| 5. | Why Is Love Such a Funny Thing
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| 6. | I Can't Forget You
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| 7. | You Loved Me
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| 8. | Black Is the Color of My True Love's Hair
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Jazz / Avant-Garde, Free Jazz, Avant-Garde Jazz
Patty Waters may very well be -- over the years and through the test of time -- one of the more interesting and arresting singers to be associated with jazz. Her slightly grainy voice, with no small parallel to that of Nina Simone, carries this set of emotional ballads, dripping with all of the sanguine feelings of lost and found love. Waters also plays piano on the compositions, all hers save one, and the melancholy she extracts from the ivory keys matches her vocalized themes of regret and disappointed wishful thinking. Her soul sister Sheila Jordan is similar in tone, but Waters retains a gray, restrained aspect, hushed by darkness but not totally in shadows. Considering that Waters is the composer and player of these pieces brings an assumption that she has deep personal biographical reasoning and context behind the ups and downs of romance. A happy/sad nuance permeates much of this music, especially during the innocent "Why Can't I?" and "Love Is Such a Funny Thing," but also when she depicts the invisibility of a foolish "out of sight, out of mind" relationship on "Sad Am I, Glad Am I." The more positive aspects of love equate to the very brief in-lust song "You Thrill Me," but there's the pure yearning in "I Can't Forget You" and "You Loved Me" that supersedes other feelings. Everything Waters does is in ballad form, a slow lingering style that forces close listening to hear all of her nuances. But the CD closes with a 14-minute take of the venerable standard "Black Is the Color of My True Love's Hair" that features pianist Burton Greene, bass, and percussion. A zither-like harp piano starts the piece slow and spacious with a ghostly, foreboding mood before Waters improvises on the word "black" in a hundred different incarnations, some hushed tones but mostly extroverted wild or pained expressions. In many circles, this version has become something of an underground cult classic. This debut from Waters was followed up many years later, but it still stands as a unique vocal jazz project either revered or reviled depending on your taste level. Certainly under any microscope, she had something unique to offer, true unto herself with every note. ~ Michael G. Nastos, All Music Guide
Patty Waters
Active Decades: '60s, '70s, '90s and '00s
Genre: Jazz
Styles: Avant-Garde, Ballads, Free Jazz, Vocal Jazz, Avant-Garde Jazz
Largely overlooked during her brief recording career in the mid-'60s, Patty Waters has come to be appreciated as a vocal innovator in not just jazz, but contemporary music as a whole. Much of her repertoire was given over to hushed piano solo ballads, in which her voice could fade to a whisper that was barely audible. What really attracted attention were her avant-garde outings, in which she stretched and mutated her voice with contorted shrieks and wails that could be downright blood-curdling. Producing an unsettling effect that is definitely not for everybody, Waters has to be acknowledged as a vocalist who has tested the limits of what the human voice is capable of, in a similar manner as fellow pioneers Joan LaBarbara and Yoko Ono.
Waters' early influences were the fairly conventional ones of Billie Holiday, Nancy Wilson, and Anita O'Day. After moving to New York in the early '60s, she was heard in a nightclub by Albert Ayler, who recommended her to the renowned experimental jazz label ESP. The first side of her 1965 debut (Sings) was given over entirely to self-composed solo piano miniatures, leaving listeners somewhat unprepared for the second side, which consisted solely of her 13-minute interpretation of "Black Is the Color of My True Love's Hair." Building into hair-raising screams and vocal improvisations, augmented by a small, free jazz combo, it remains the performance for which she is most noted.
Waters, sadly, only recorded one more album, the live College Tour, just a few months later. A more determinedly avant-garde effort than her debut, it featured entirely different (and mostly self-composed) songs than her debut. Waters often eschewed words altogether for wordless moan-scats and wails, and opted for a fuller band backing, including appearances by pianists Ran Blake and Burton Greene. Aside from a subsequent appearance as a member of the Marzette Watts Ensemble on a 1968 LP, nothing else was heard from Waters on record until 1996. Her mystique was enhanced over the decades by the rarity of her two ESP discs, which have recently been reissued on CD in Germany.
---Richie Unterberger, All Music Guide |
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