Roger Davidson & Raúl Jaurena "Pasíon por la Vida"
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NEW RELEASE: Roger Davidson - Raul Jaurena - Pasion Por La Vida (SR 1015)
23/03/2009
All tracks composed by Roger Davidson.
Notable tracks:
9 – Todo El Tiempo – With the purity of two instruments, uncluttered and uninterrupted, each artist provides nuanced interpretations. Davidson’s song inspires the imagination, and, while he provides the melody, Jaurena provides improvisational turns with elegant effect.
11 – Canción de la Montaña – This song resembles the Chacarera, an Argentine folk dance, often danced at the end of the social milonga, in the morning’s wee hours, with the entire remaining group of dancers facing each other in lines and crossing the dance floor, arms up-stretched. Jaurena is obviously versed in the genre and creates captivating chords with each pulse of Davidson’s piano.
12 – Milonga del Norte – This vibrant Milonga, a joyful fast partner Tango, that switches the mood in social dance settings, has been composed with especially pronounced rhythms that drive the music. Jaurena slaps the side of his bandoneón for percussive pulse, and Davidson’s staccato melody enhances this recording with joyful vivacity.
16 – Si Loin de Toi – In a Parisian mood, with a French title, this rapturous retro-styled Tango brings the listener back to the core of the genre. I found it evocative of the Pugliese Tango repertoire, soulful, searing, sensuous. This theme yearns for Tangueros in close embrace.
Dr. Roberta E. Zlokower http://robertaonthearts.com/cd/idCD28.html
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Jazz Times review - Carol Fredette "Everything in Time"
11/03/2009
Fredette's "Dream Dancing" is appropriately satin lined, her "Las Night When We Were Young" fittingly wistful and her "A Fine Romance" aptly aniumated. (She also takes a welcomed double dip into the Mack Gordon songbook for fine renderings of "I Wish I Knew" and "Love Thy Neighbor.") But Everything In Time becomes most interesting when she and Finck stray from Michel Legrand and Alan and Marylin Bergman, with the usually deliberate "Pieces of Dreams" taken at an enticingly urgent pace and the bright, sunny "I Was Born in Love With You" bathed in long shadows. Read more >>
Carol Fredette live at Iridium -GREAT REVIEWS!!
10/03/2009Carol Fredette At The Iridium Live Review March 2009 Jazz Improv® NYhttp://www.jazzimprov.com/guides/ji_nyc_V04N09.pdf
Carol Fredette
The Iridium, New York, NY,
February 4, 2009
By Joe Lang
When I arrived at the Iridium to catch Carol Fredette’s second set, I waited on the steps descending to the club for the attendees at the first set to exit. As they departed, almost every person commented upon what a terrific show they had just seen. This certainly raised the already high expectations of those waiting for entry. Well, suffice to say that most of the comments understated what we were about to experience. Carol Fredette is a superb jazz vocalist, and yet her gigs are few and far between, a reflection of the inequities that plague the world of music, particularly for jazz performers. Celebrating the release of her terrific new album, Everything in Time on Soundbrush Records, Fredette was joined on stage by Bob Malach on tenor sax, Barry Danielian on trumpet, Helio Alves on piano, David Finck on bass, Kevin Winard on drums and Roger Squitero on percussion. It was evident from the start of her set that Fredette was in top form. She is an enthusiastic and free-spirited presence, given to making offhand comments that are often quirky, and usually filled with good humor. Her first three selections were from the new CD, “Dream Dancing,” “Love Thy Neighbor” and “Only Trust Your Heart,” all great songs that are not over exposed. “Love Thy Neighbor” is an old Bing Crosby movie tune that Fredette picked up from John Coltrane’s “Stardust” album, and one not often heard in a jazz context, Fredette’s being the first recorded vocal by a current jazz singer. Fredette has recorded too few albums, and her prior one was devoted to songs by Bob Dorough and Dave Frishberg. Dorough was on hand to hear her hip version of “I’ve Got Just About Everything.” Bassist Finck, who produced her current release, provided the sole backing for “You Turned the Tables on Me,” a vintage Louis Alter/Sidney Mitchell vehicle. It highlighted the inventive artistry of both Fredette and Finck. The Ivan Lins/Paul Williams bossa nova classic “Love Dance” was the title song of Fredette’s first album, and she reprised it masterfully on this evening. “I’ve Never Been in Love Before” was a perfect example of how Fredette really gets to the heart of a lyric. She then returned to the Dorough songbook for another selection from Everything in Time, “Without Rhyme or Reason.” Fredette has a natural affinity for the unique feeling that Dorough brings to his creations. Two fine standards followed, “I’m Through with Love” and “A Fine Romance,” both invested with the kind of freshness that Fredette brings to any song that she chooses to sing. James Lipton is most noted for being the host of the cable television show “Live at the Actor’s Studio,” but he has also been an occasional lyricist. He collaborated with Cy Coleman to produce a fine, but rather obscure song, “Would You Believe.” Fredette included it on her new release, and brought it wonderfully to life for this set, with the only accompaniment coming from Alves. The evening was brought to a satisfying conclusion with “Long Ago and Far Away,” a Jerome Kern tune with a lyric by Ira Gershwin. Carol Fredette is among the upper echelon of current jazz vocalists. Hopefully, her enthusiastically received new album, and the great word of mouth from performances like those at The Iridium will put her into the spotlight that she deserves.
Cabaret Scenes Live Review
http://www.cabaretscenes.org/cabaret_reviews/2009/feb09/fredette_carol_2-09.html
Jazz singer Carol Fredette’s launch of her new CD, Everything in Time at the vocalist-friendly Iridium was a festive occasion, brimming over with an excited audience there to revel in Carol’s performance. One of the most often asked questions of the evening by the greedy fans was “why she doesn’t perform more, and what we can do about it?”
Carol, who started performing so young that she still is quite youthful, sporting a svelte, gamine appearance and a hip rap, has the look and persona of a Merv Griffin guest in the early 1970s.
It was clear that Ms. Fredette didn’t want anyone to suffer boredom for even one second as each one of her selections was a bona fide “oh, I love that song” sort of tune. The opening song, “Pieces of Dreams,” was the type of showstopper that one might expect at the end of a set, but it didn’t matter because following with tunes like Jobims’ “Dream” — in a thrilling arrangement — and the mystical “I Was Born in Love With You,” kept the ante high.
Much of her show was of a Latin bent, but all was not Jobim as Ms. Fredette chose Ivan Lins’ Leonard Cohen-ish (the seminal Canadian Folk genius) “Ticket.” The audience roared to the hilariously unlikely song “O Pato,” celebrating waterfowl that get so caught up doing the Samba that they almost drown in their frenzy! A Latin “Disco Duck,” if one could imagine such a thing.
The 85-year old jazz composer Bob Dourough was in the audience, as well as some other old time “insiders.” Fredette honored Dourough with her rendition of his contemporary jazz favorite “Devil May Care,” burning up the house with her kick butt band consisting of Helio Alves on piano, David Finck, bass, Kevin Winard, drums, Barry Danielian, trumpet, Bob Malach, tenor, and Roger Squitero on percussion.
Fredette’s voice, while unique, is sometimes reminiscent of the late Susannah McCorkle in pitch and its slight vibrato. It is a smoky, lived-in sound that surprises sometimes with laser-like top notes and on occasion even a soft, higher purr.
I left the show thinking that jazz and cabaret are often musical first cousins if not siblings. Carol’s patter has the revelatory quality of many cabaret pros and her tunes were as melodic as can be with the extra spice of jazz sizzle. Good is good, and in the sea of generic mediocrity I am glad to “face the music” of any genre or style as long as it is nourishing.
Melody Breyer-Grell
Cabaret Scenes
February 4, 2009
www.cabaretscenes.org
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February 2009 Release: Carol Fredette "Everything in Time"
24/02/2009
THE RAVE REVIEWS KEEP COMING IN! CLICK HERE
In Everything in Time, her long-awaited return to recording after a decade's absence, veteran New York jazz singer Carol Fredette is at her peak, singing a repertoire that blends classic American and Brazilian pop-jazz. A musicians' singer, Carol has spent her career performing with the top players in jazz, including Ron Carter, Mel Lewis, Steve Kuhn, and John Scofield. Everything in Time reunites her with her longtime colleague, the celebrated bassist and arranger David Finck. Produced by David, the album boasts a first-rate band of Manhattan- and Brazil-based jazzmen; along with Carol they bring new sparkle to songs ranging from Kern to Ivan Lins to Kenny Loggins. For Carol's fans, Everything in Time is a grand welcome-back; those who don't know her are in for a happy discovery.
Carol Fredette triumphs at Iridium
23/02/2009
Soundbrush recording artist Carol Fredette presented her new album "Everything in TIme" at the prestigious NYC jazz club Iridium. Introduced by label President Roger Davidson, the singer took the stage by storm and performed with an astounding sextet through all the songs in her new Soundbrush CD. Fredette has an exquisite sense of phrasing, molding the melody and words with exquisite musicality. The capacity crowd in the first set roared after every interpretation. After the set, Jim Eigo looked around the room and said "You know you're doing something right when you have the likes of Bob Dorough, Sheila Jordan, Anne Phillips, Daryl Sherman, Steve Kuhn and Agent 99 Barbara Feldon in the house.!"
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