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| The Complete ESP-Disk Recordings |
| Patty Waters |
| első megjelenés éve: 2005 |
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| (2005)
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CD |
| 5.673 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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| 9. | Song of Clifford [Live]
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| 10. | Hush Little Baby/Ba Ha Bad (Kingdom of God) [Live]
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| 11. | Wild Is the Wind [Live]
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| 12. | Prayer [Live]
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| 13. | It Never Entered My Mind [Live]
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| 14. | Song of Life/Hush Little Baby [Live]
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| 15. | Song of the One (I Love) (Love, My Love) [Live]
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Jazz / Avant-Garde, Ballads, Free Jazz, Vocal Jazz, Avant-Garde Jazz
Patty Waters - Arranger, Photography, Vocals, Adaptation
Alison DeBenedictis Layout Design, Design
Bernard Stollman Liner Notes
Burton Greene Piano, Pianoharp
Chuck Stewart Photography
Clifford Allen Liner Notes
Dave Burrell Piano
David B. Jones Engineer
Douglas McGregor Digital Restoration
Giuseppi Logan Flute
Marvin Fishman Photography
Masa Oe Photography
Perry Lind Bass
Ran Blake Piano
Richard Alderson Engineer
Shelly Rusten Drums, Photography
Steve Tintweiss Bass, Photography
Tom Price Percussion
As the ESP-Disk recordings are digitally remastered (finally, thank God), it's a true blessing to have the two albums vocalist Patty Waters recorded for the label in 1965 (Patty Waters Sings) and 1966 (College Tour) on a single CD. The historical significance of these recordings cannot be overstated. Since Waters' output until the late 20th and early 21st centuries was limited to these two recordings and some work she did with Marzette Watts (a vocal reading of Ornette Coleman's "Lonely Woman" recorded in 1968), this pair of records presented properly in a digital format is necessary. Waters' influence has been noted by Yoko Ono, Diamanda Galas, Diana Rogerson, and Patti Smith -- check her adaptation of the traditional ballad "Black Is the Color of My True Love's Hair," for a notable reason why. Waters, whose own influences were Billie Holiday, Ella Fitzgerald, and Sarah Vaughan, wanted to record standards for Bernard Stollman's label (the pair had been introduced by no less than Albert Ayler). He told her to write her own material, She did, and a few days later (in 1965), he recorded Patty Waters Sings with pianist Burton Greene's Trio. (Waters composed all but one of the tunes on the set on her piano.) "Black Is the Color of My True Love's Hair" is one of American free jazz/improvisational music's seminal moments. But it's the range of her singing that is so impressive, with its otherworldly voice that was stark and smoky with a deceptively restrained range. There's the deep jazz blues in "Why Can't I Come to You," and the whispery ballad, "You Thrill Me," which has been covered by many other singers for starters. But the drama in "Sad Am I, Glad Am I," and the sheer heartbreaking skeletal minimalism in "I Can't Forget You" is so utterly captivating and devastating it doesn't prepare the listener for the 13-minute adaptation of "Black Is the Color..." that simply burns with white, screaming heat , where she bleats and screams as if she were John Coltrane's saxophone on Live in Seattle. The College Tour album offers another fine example of her many gifts as a singer, as she is featured in a variety of settings -- from singing with Giuseppi Logan's quartet -- with Dave Burrell on piano -- to a wailing "Wild Is the Wind," with the Burton Greene Trio, to an intimate reading of Rodgers & Hart's "It Never Entered My Mind," with pianist Ran Blake. The College Tour performance is recorded mostly outside, displaying the considerable improvisational gifts Waters had at her command. She was music itself, untamed, free and utterly untouched by artistic artifice or pretension. As both a singer and a songwriter, Patty Waters is a treasure. She left music in 1968 to travel Europe and Morocco, and then raised a son in California. She returned to recording in 1996 with Love Songs, a series of duets with pianist Jessica Williams, and recorded a live album entitled Happiness Is a Thing Called Joe: Live in San Francisco 2002, which was released in 2005. She also performed at the 2004 Vision Festival. The excellent Water Records label (no relation) has issued You Thrill Me, a collection of demos she recorded for another album, some demos she recorded for Columbia in the early 1960s, as well as outtakes, live performances, and even a Jax Beer commercial. All of that is good and well, and Waters' return to the scene is a welcome one, but it is this CD of her Complete ESP-Disk Recordings which is the one that will bear her mark and influence best, and the one that history will remember. ~ Thom Jurek, 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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