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| 3.740 Ft
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| 1. | My Foolish Heart
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| 2. | I've Got a Crush on You
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| 3. | When Your Lover Has Gone
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| 4. | Someone to Watch Over Me
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| 5. | Don't Explain [Talking Version]
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| 6. | Summertime
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| 7. | Fine and Mellow
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| 8. | Willow Weep for Me
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| 9. | Don't Explain
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| 10. | Mean to Me
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| 11. | Nature Boy
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| 12. | Mood Indigo
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Jazz / Avant-Garde, Ballads, Free Jazz
Patty Waters - Producer, Vocals, Bass
Doug Woeppel Design, Artwork
Elaine Arc Photography
Jessica Williams Synthesizer, Engineer, Piano
Philip Barker Producer
Rainer Gembalczk Mastering
Scott Yanow Liner Notes
Will Wallace Photography
Patty Waters' first recording in 30 years finds the former avant-garde singer sounding older, with a smaller range and a weaker voice, but still showing a great deal of honest emotion and intensity. Accompanied by the great pianist Jessica Williams (who effectively emulates a full band on her synth during "Mood Indigo"), Waters explores 11 standards, including two haunting versions of "Don't Explain." Most of her renditions are fairly straightforward, although quite eerie, and on "Nature Boy" she hints strongly at her past freer days. Other highlights include "I've Got a Crush On You," "Someone to Watch Over You," "Mean to Me," and the only song taken above a ballad pace, "Fine and Mellow." ~ Scott Yanow, 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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