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| Happiness Is a Thing Called Joe: Live in San Francisco 2002 [ ÉLŐ ] |
| 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. | He's Funny That Way
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| 3. | Fascinating Rhythm
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| 4. | Good Morning Heartache
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| 5. | I'll Be Around/It's Easy to Remember/You've Changed
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| 6. | Old Devil Moon
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| 7. | Don't Explain
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| 8. | I Loves You, Porgy
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| 9. | Loverman
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| 10. | Happiness Is a Thing Called Joe
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| 11. | Willow Weep for Me
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| 12. | I Got It Bad/In My Solitude
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| 13. | Never Let Me Go
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| 14. | St. Louis Blues
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Jazz / Ballads, Torch Songs, Standards, Vocal Jazz
Andrew Waters Photography
Bill Meyer Liner Notes
Gary Hobish Mastering
Leonard Thompson Piano
Lou Judson Engineer
Pat Thomas Producer
Seward McCain Bass
Wally Sound Assembly, Tape Editor
There is something ultimately redemptive in hearing musicians playing live, where all protective gear in the studio is gone, where there is no mix to fix, where they are just standing in front of an audience, pouring it out, letting it come through them. Too often live recordings are not live at all, as the delicate and sometimes evident flaws that make a performer human are eliminated, erased, and sent into the dustbin of history, thus rendering both the performance inaccurate and the performer somehow less than what she or he is. In other words, the beauty is in the imperfections themselves. Happiness Is a Thing Called Joe by Patty Waters is a true live album. Recorded at a date in San Francisco in 2002, the album is a jazz tribute to Billie Holiday and includes 14 standards. Waters is accompanied by pianist Leonard Thompson and bassist Seward McCain. There is no resemblance to the fiery singer of "Black Is the Color of My True Love's Hair" here. This is the voice of a seasoned interpreter, a singer who despite her somewhat limited range (there's a rasp in the lower end of her voice and a thin, brittle-like quality in its timbre) has an uncanny phrasing ability, singing the lyric of a classic song straight and from the heart and getting at its sinew and marrow. Check "Good Morning Heartache," where the opening line is one of such acceptance that the listener winces at the pain in the grain of her voice. Yet on "Old Devil Moon" she wrings the wry romance with humor and a rough-hewn grace; it's immediate, full of the right kind of anticipatory tension, and a dangerous delight. Waters' respect and honor for the tradition of these songs is evident. Like Holiday, she approaches the songs as if they were secret texts whose truths could be revealed by careful emotive investigation. Her reading of "Willow Weep for Me" is simply breathtaking. It's so frail and vulnerable, and full of a brokenness and desire whose name can only be acknowledged, not spoken let alone touched. She digs deep into the blues vocabulary for the expression necessary and comes up with it, communicating the cracked-heart blues of unrequited love with accuracy, verve, and raw tension. Happiness Is a Thing Called Joe is an accurate, in-your-face recording. It's full of tape flaws, musical imperfections, and even errors. But therein lies its beauty and necessity, not only as a document, but as a high-wire act at full tilt. Waters is a different kind of singer than she used to be. Her power lies in the quiet, shimmering timbres and colors that come from her matter-of-fact delivery. This album is a welcome addition to her catalog. ~ 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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