  |
|
|
 |
| You Are There |
| Hilary Kole |
első megjelenés éve: 2010
61 perc |
|
| (2010)
[ DIGIPACK ]
|
|
CD |
| 5.061 Ft
|
|
| 1. | If I Had You
|
| 2. | Every Time We Say Goodbye
|
| 3. | It's Always You
|
| 4. | Lush Life
|
| 5. | These Foolish Things
|
| 6. | I Remember
|
| 7. | How Do You Keep The Music Playing?
|
| 8. | But Beautiful
|
| 9. | Softly As In a Morning Sunrise
|
| 10. | Strange Meadowlark
|
| 11. | You Are There
|
| 12. | Two for the Road
|
| 13. | All The Way
|
Jazz
Alan Bergman Composer
Alan Broadbent Piano
Anthony Iannucci Engineer
Benny Green Piano
Bill Moss Engineer, Mastering
Billy Strayhorn Composer
Carol Friedman Art Direction, Photography
Caroline Albert Production Design
Cedar Walton Piano
Cole Porter Composer
Dave Brubeck Piano, Composer
Dave Frishberg Composer
Freddy Cole Piano, Vocals
Gianni Valenti Producer, Liner Notes
Hank Jones Piano
Harry Link Composer
Henry Mancini Composer
Hilary Kole Liner Notes, Vocals
Holt Marvell Composer
Iola Brubeck Composer
Jack Strachey Composer
James Van Heusen Composer
Jim Czak Engineer
Jimmy Campbell Composer
Johnny Burke Composer
Johnny Mandel Composer
Jonathan Schwartz Liner Notes
Kenny Barron Piano
Leslie Bricusse Composer
Maria Verel Make-Up, Hair Stylist
Marilyn Bergman Composer
Mary Ann Topper Management
Michel Legrand Piano, Composer
Mike Renzi Piano
Monty Alexander Piano
Oscar Hammerstein II Composer
Reginald Connelly Composer
Sammy Cahn Composer
Sigmund Romberg Composer
Stephen Sondheim Composer
Steve Kuhn Piano
Te Shapiro Composer
"A pure voice that flows as easily as burnished notes from a muted trumpet, impeccable musicianship, pellucid phrasing, the ability to swing an up-tune and infuse a ballad with simmering passion." -- Huffington Post "Polished and pure." -- Rex Reed, New York Observer "This listener can't recall in years so smashing a solo CD debut as this winner ... Kole inhabits each [song] with a thoroughness and emotional authenticity that belies her young years." -- All About Jazz "She communicated with warmth and intimacy. Completely involved in her rich expressiveness, she pulled her listeners into the experience with her. Songs such as Wilder's too-rarely heard `Blackberry Winter' and Irving Berlin's touching `What'll I Do?' emerged as definitive examples of the rich poetry in American song." -- Los Angeles Times
Thirteen newly-recorded tracks; over an hour of music.
It's refreshing to hear a great voice accompanied only by the elegant sounds of the world's greatest jazz pianists.
Includes "It's Always You," a vocal duet with Freddy Cole.
For her second recording, Hilary Kole has pulled off a coup any jazz singer can only dream of, yet it has become real. You Are There contains 13 vocal-piano duets recorded over a five-year period with some of the most renowned pianists in history, including Dave Brubeck and Hank Jones. It's even better to hear Kole's pitch-perfect voice alongside these unquestioned masters in mostly subtle ballad versions of standards. What is also true is the program varies little from track to track -- consistent for sure, but not arresting to the point where it is commanding. The tracks with Jones will be paid attention to because of his passing before the release of the CD, but it is his distinctive, stride-flavored piano on "If I Had You" that remains timeless. Brubeck's playful piano on "These Foolish Things" and his own "Strange Meadowlark" give Kole a bit more of a challenge. With Freddy Cole on piano and vocals, Kole teams up in separate lyric voicings during "It's Always You," the most delightful track of the set. Then there's "Softly, As in a Morning Sunrise" with Benny Green extrapolating to a great degree, and Steve Kuhn getting into an atypical bluesy mood on "Two for the Road." There's nothing to really criticize about Hilary Kole's voice or inflections -- she's good as gold -- while all of the pianists play sensitively to the hilt. It's the kind of project that makes one yearn for more, a good thing in one sense, and leads to thinking about what it could have been with some variance in the rhythmic department. ~ Michael G. Nastos, Rovi
Singer, composer, arranger, pianist - Hilary Kole is unusually well-rounded when compared even to the better singers working today. She utterly fits the description "she's got it all" - a catch-phrase often lobbed but seldom deserving. After the success of Haunted Heart, her debut small combo recording, lovingly produced by John Pizzarelli, Kole now offers You Are There, an album of duets that is certain to further enhance her reputation as one of today's finest singers working in jazz. What is truly remarkable is that, despite the presence of such heavyweight partners as Hank Jones, Cedar Walton, Freddy Cole, Kenny Barron, Michel Legrand and Dave Brubeck (and the list does not end there), Hilary Kole manages to make the recording very much her own, with nary a weak track among this thirteen song paean to love. From the opener, "If I Had You," performed with the inimitable Hank Jones (indisputably one of the finest vocal accompanists in jazz history), to "All The Way," with the great Monty Alexander, this hour long recording is a rewarding listen, rich in detail and improving with each successive spin. Sales Points:- Hilary Kole duets with some of the world's greatest pianists- Guests include Hank Jones, Kenny Barron, Michel Legrand & Dave Brubeck- Thirteen newly-recorded tracks; over an hour of music- Includes "It's Always You," a vocal duet with Freddy Cole- Ms. Kole will tour extensively to support the recording (dates TBA) Media Quotes:"She communicated with warmth and intimacy. Completely involved in her rich expressiveness, she pulled her listeners into the experience with her. Songs such as Wilder's too-rarely heard "Blackberry Winter" and Irving Berlin's touching "What'll I Do?" emerged as definitive examples of the rich poetry in American song." - Don Heckman, Los Angeles Times (Dec 2009)"In everything Ms. Kole sings, you sense her insistence on getting it right by maintaining a precisely calculated balance between technique and expressiveness. A meticulous perfectionist, Ms. Kole always surrounds herself with the best musicians."- Stephen Holden, The New York Times (Feb 2010)
Hilary Kole
Hilary Kole says that when she first started working on her debut album, Haunted Heart, she was initially apprehensive. "It took me such a long time to get to this point that my initial thought was that it had to be perfect, that it had to be the definitive representation of who I was and what I was doing." It wasn't until she was into the first session that producer John Pizzarelli convinced her to lighten up. "He reminded me - and he was so right - that music is supposed to be fun, and if we don't enjoy what we're doing, then what's the point? We spent all the rest of the sessions laughing and having such a good time that I'm amazed the record ever got finished."
Haunted Heart was actually Pizzarelli's idea. "He came in to hear me at Birdland and he said, 'It's ridiculous that you're performing all the time, but you haven't done an album yet. It's time.'" The Grammy-nominated guitarist-songwriter-singer and raconteur offered to produce her album himself, and Kole took him up on it. The result, Haunted Heart, turned out to be a combination of songs suggested by John balanced against songs that Hilary has been performing for the last few years. "John was incredibly supportive of my ideas and arrangements. To work with a producer who is also such a wonderful interpreter of this music was an amazing experience."
Even though Haunted Heart is Hilary's first album, she is already one of the best-known and most admired younger singers, due to her starring roles in the long-running Off-Broadway musicals, Our Sinatra and Singing Astaire (both of which she co-created), her appearances at Birdland, The Jazz Standard, and The Iridium, and other major New York jazz clubs and cabaret rooms, and other venues across the country and around the world.
Hilary's mother had been a childhood model and actress (there's a famous photo of her in the same class with Marilyn Monroe); her maternal grandmother was a Julliard-trained pianist, but found her career as one of the first female agents in the business end of the show world, and in the '30s she booked bands at Frank Dailey's Meadowbrook, one of the legendary venues of the Swing Era. Her father is the celebrated Robert Kole, the singer and actor best known for his work in the original Broadway and touring productions of West Side Story, as well as many other classic musicals. Kole senior also taught voice, and, as early as the age of five, Hilary began her musical studies. "I would listen as he taught other pupils, and then I would sing out the notes that they couldn't hit," says Hilary. "It was very obnoxious for a five year old!"
Even though she already showed a talent for singing, her focus, as a child, was on composition. At twelve, she received a scholarship to attend the Walden School for music composition, where she spent her next six summers. Her compositions garnered three National Federation of Music Awards, as well as the prestigious Delius Award for her work "Piano Trio No.1" which received its world premiere with the Jacksonville Symphony when she was seventeen (a very good year).
When it came time to go to college, she set her sights on The Manhattan School of Music. Her main interest was in Classical Composition, but she thought to hedge her bets and also auditioned for Jazz Composition and Jazz Voice. Of the three departments, she was completely surprised to be offered a full scholarship in Jazz Composition. "I had no idea how I would fit in a jazz program," she says, "I wanted to be John Williams." While at the Conservatory, she studied with Ed Green, the illustrious Manny Albarn, and Richard DeRosa. She also sang in the school's jazz choir, which opened up a whole new world for her. "I got into singing jazz almost by accident," she remembers. "I knew a lot of standards from my father, but this was the first time I started listening to Ella Fitzgerald and the great jazz singers. I immediately knew that this was something that I had to do." She adds that a vocal teacher at MSM, Jackie Presti, became an early role model for her, who exposed her to the major vocalists and the jazz repertoire.
"At the start of my junior year, I realized I needed a job - something other than waiting tables." Ms. Presti told her that the Rainbow Room needed a young female singer to work in its steady orchestra. "She got me the audition, and when they asked for a list of songs I knew, I wrote down every song that I had ever heard of. After being offered the job, I literally had to call my mother from a pay phone to ask her where the Rainbow Room was!"
She sang at the Rainbow Room as the featured vocalist with the Rainbow Room Orchestra for a year and a half, until it closed in 1999, and that would be her major, formative experience in singing standards and jazz. She learned hundreds of songs (for real), sang six nights a week for five and a half hours a night. "It was a great band and I was in heaven," she recalls, jubilantly. "I was magically glamorized - they had me wearing all these fabulous dresses, I was learning from some of the best side-men in the business, and I had complete freedom to really hone my craft. When they closed the room, I was devastated. I was literally the last big band singer in New York."
Around that time, however, two other events occurred in her life and career: she graduated Manhattan School of Music, and she opened in Our Sinatra at the famous Oak Room of the Algonquin Hotel. She had met singer Christopher Gines when he occasionally sang with the Rainbow Room band, and he recruited her for the revue, which he was putting together with the celebrated pianist-singer Eric Comstock. "When I met Eric," she recalls, "the only thing he asked me was 'Can you sing the melody?' - Apparently, I was listening to a little too much jazz." The three of them - Christopher, Eric, & Hilary - created the durable tribute to the most iconic of American entertainers, which opened at the Oak Room in 1999; over the last nine years, Our Sinatra has played thousands of performances, on Off-Broadway, in New York jazz clubs and cabarets, in a national touring company, and all over the world. "More people have seen me in that than anything else," Hilary points out, "even today, people still come up to me and say that they first saw me in Our Sinatra."
Our Sinatra played Birdland in 2003, and it was followed by a year long run of Singing Astaire by the same three creator-cast members. It was then that Hilary began a long-running and ongoing relationship with that most central of New York jazz institutions; even though she has also performed at The Jazz Standard, the Iridium, and many other major rooms around the country and the world, Birdland is her home base. In addition to working there in her own show for several weeks a year, Hilary currently sings at the Times Square club on Sundays with The Andy Farber Big Band. In the last three years, she has headlined all over the world as a solo vocalist, at festivals in Europe (Umbria, Italy; Berne, Switzerland; Nairn, Scotland), the Caribbean, and the Continental United States.
In the last few years, Hilary was fortunate enough to have enjoyed a musical relationship with the legendary Oscar Peterson. When they taped four duo tracks together in 2006, she became the last singer and performer to record with the jazz icon, who died a year later. During Peterson's remaining few months, she appeared at an all-star concert held in his honor at Carnegie Hall, and, after his passing at the end of 2007, Hilary was asked to be part of a star-studded tribute honoring the jazz legend in his native Canada, sharing the Roy Thompson Hall stage with Quincy Jones, Herbie Hancock, and Nancy Wilson. "When I got the call from Kelly Peterson, Oscar's widow, asking me to perform, I was speechless. The Peterson's friendship and support has meant the world to me, and I was so lucky to have known one of the most gracious and honorable men in the world."
In addition to working with Dr. Peterson, Hilary has performed and recorded with the likes of Hank Jones, Michel LeGrand, Mulgrew Miller and Kenny Barron.
Hilary was delighted to work with John Pizzarelli, as well as her long-running rhythm section of bassist Paul Gill, drummer Mark McLean, and New York's most in-demand young pianist and accompanist, Tedd Firth, on Haunted Heart, her first solo album. "John and I wanted to songs to be as listenable as possible. Something that would put a smile on your face when you listened to it. Something you could play again and again." |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
