フォーマット |
CD |
---|---|
構成数 |
2 |
国内/輸入 |
輸入 |
パッケージ仕様 |
- |
発売日 |
2017年09月27日 |
---|---|
規格品番 |
MAC1120 |
レーベル |
|
SKU |
673203112025 |
構成数 | 2枚
合計収録時間 | 01:52:00
Personnel: Karla Donehew-Perez, Suliman Tekalli (violin); Paul Laraia (viola); Karlos Rodriguez (cello). Recording information: DiMenna Center for Classical Music, New York, NY (09/09/2016-09/11/2016); Village Vanguard, New York, NY (09/09/2016-09/11/2016); DiMenna Center for Classical Music, New York, NY (12/13/2016); Village Vanguard, New York, NY (12/13/2016). Illustrator: Cecile McLorin Salvant. Photographer: Mark Fitton. The juxtaposition of dualistic concepts like love and anger, joy and heartache, and the way these emotions are inextricably linked in our romantic psyches inform all of Cecile McLorin Salvant's virtuosic, urbanely produced fourth album, 2017's Dreams and Daggers. Recorded live at the Village Vanguard (yes, you can sometimes hear the enthusiastic audience) and in studio at New York's DiMenna Center, the double-disc set features Salvant on a thoughtfully curated selection of standards and several originals, all touching upon the themes of romance and heartbreak. Along with her regular trio of pianist Aaron Diehl, bassist Paul Sikivie, and drummer Lawrence Leathers, Salvant is joined at various times by the classical string ensemble the Catalyst Quartet, who supply a cinematic layer of orchestration (via Sikivie's gorgeously refined arrangements) to Salvant's already emotive style. Also making an appearance on a delightfully earthy rendition of the Bessie Smith number "You've Got to Give Me Some" is pianist Sullivan Fortner, whose lively chemistry with Salvant brings to mind Oscar Peterson's work with Ella Fitzgerald. Since winning the 2010 Thelonious Monk Jazz Vocal Competition, the Miami-born Salvant has built a formidable career around her dynamic, sophisticated brand of vocal jazz. Marked by her highly resonant voice and deft sense of phrasing, it's a style that recalls the swinging virtuosity of Fitzgerald, as well as the more idiosyncratic approach of Betty Carter. Cuts here, like her soulfully lithe take on Frank Loesser's "Never Will I Marry," and her swaggeringly cheeky turn on Ida Cox's "Wild Women Don't Have the Blues," are breathtaking in their sophistication and interpretive nuance. The thing about Salvant, is that while her titanic abilities draw easy and well-earned comparisons, she never comes off as a mimic, remaining instead confidant, and firmly self-aware in her own ability to put a song over to a crowd. Whether she takes on a warhorse here like "I Didn't Know What Time It Was," or reveals her impeccable flair for picking lesser performed songs as on her wry reading of Noel Coward's "Mad About the Boy," she imbues each track with her own distinctive point of view. The few original compositions included here especially reveal her to be a literate, deeply poetic artist with a strong sense of personal identity -- as heard on the short chamber piece "Red Instead," in which she sings, "I can't really change the way I am/I can be bolder/Sharpen my dagger/Cut through the multitudes and make it bright red instead." Ultimately, on Dreams and Daggers, with its balanced framework of live and studio recordings, happy and sad romantic songs, small group and classical chamber pieces, Salvant remains as bold and as sharp as ever. ~ Matt Collar
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1.[CD]DISC 1: PART 1:
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1.And Yet
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2.Devil May Care
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3.Mad About The Boy
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4.Sam Jones' Blues
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5.More
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6.Never Will I Marry
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7.Somehow I Never Could Believe
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8.If A Girl Isn't Pretty
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9.Red Instead
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10.Runnin' Wild
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11.The Best Thing For You
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2.[CD]DISC 2: PART 2:
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1.You're My Thrill
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2.I Didn't Know What Time It Was
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3.Tell Me What They're Saying Can't Be True
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4.Nothing Like You
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5.You've Got To Give Me Some
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6.The Worm
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7.My Man's Gone Now
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8.Let's Face The Music And Dance
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9.Si j'etais blanche
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10.Fascination
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11.Wild Women Don't Have The Blues
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12.You're Getting To Be A Habit With Me
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グラミー賞受賞おめでとうございます!二度あることは三度あるそうなので2018年も楽しみです。さて、改めて2017年リリースのヴィレッジ・ヴァンガードでのライヴとスタジオ制作をうまくまとめた二枚組のご紹介ですが、兎にも角にもセシルのジャズがこってり楽しめる内容です。弦楽四重奏を交えたスタジオ版はセシルの声と弦の混ざり具合が心地いいし、ライヴ版はデッドな音がなんともウォーム&クラッシーな響きで、音の輪郭がはっきりくっきり聴こえてくる。二枚めの《I didn't Know What time it was ?》のスインギーなアレンジが新鮮。失敗を恐れず大胆に、繊細に歌い切るところがさすがですなあ。
intoxicate (C)高見一樹タワーレコード (vol.131(2018年2月20日発行号)掲載)
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