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Alone Together |
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Aaron Walker
Richie Goods (encore) |
They call these songs "standards"
because of their recognized excellence and their ability to stand the test of time, even
through the numerous and even sometimes extreme or unrecognizable interpretaions(sometimes
fondly referred to as "derangements") presented by various artists. Additionally
because of their unique qualities, these songs have aided in setting artistic standards
for artists. We use these songs by which to cut our teeth. They are the instruments by
which we sharpen our craft night after night. We interpret the stories and sing the
melodies repeatedly in an attempt to make them our own. And magically something begins to
happen. Small pieces of ourselves, our voice, our imagination begin to show themselves and
make themselves heard. Our individuality begins to take root with the dream of becoming in
so many ways like the standards we perform. Ultimately with great care and determination,
we hope to be recognized for our excellence and ability to stand the test of time. A
standard bearer. On this first, self produced outing by Heidi Martin it is clear, that her
seeds for a sound all her own have root. Building a strong foundation in the beginning of any career is consequential. For a vocalist, the choice of musicians ranks high on my list as a priority in preparing that foundation... I read a quote in an industry magazine by Sarah Vaughn (definitely a standard bearer in jazz vocals) wherein she said, "a band can make or break a singer". Sarah, of unquestionable vocal prowess always employed superb sidemen throughout her careeer. To her credit, Heidi is smart in her choice of sidemen here; George Colligan on piano, Richie Goods on bass and both Alvester Garnett and Aaron Walker on drums. They are four of the most talented and in-demand sidemen today. They are also growing favorites amoung vocalists. Just listen to their performance here. Their ideas are inspiring and they make a very comfortable bed for Heidi's voice to lie and experiment upon at will. Beginning with ALONE TOGETHER, the bass sets up a really hip groove to be blanketed with brushes and edgy changes from the piano. Heidi glides effortlessly here like a pendulum over a tensional vamp that releases her swinging into the bridge and sliding back into the vamp. The discourse ends nicely with Heidi quoting the bass line. Quoting instrumental lines is one way of developing improvisational skills. On DARN THAT DREAM, she sounds relaxed and in sync with the trio. She demonstrates a lot of imagination and spirit here in matching her performance with the bands. Singers have to give careful thought to repertoire, another important building block for a singers' career, especially if they are standards, because they are frequently recorded. Heidi has chosen some familiar and not so familiar numbers for her set. She has given a fresh treatment to some, making them memorable contributions to the lot. Not so familiar to the "standard" group of songs is BLACKBIRD by the Beatles. It's half-time/double-time arrangement is driven expertly up-tempo by the band. But what captures my attention more is Heidi's apparent freedom with the time and melody. She shines on this for me with soaring, soulful riffs, bending notes over phrases and high notes that are focused so right they ring. Another unusual piece of the collection is THROW IT AWAY by Abbey Lincoln. Executed with just drums, it adds a "Lincoln flavor" without imitating her and gives Heidi a lot of room for phrasing and self-interpretation. AFRO BLUE adds even more variety to the mix with one of my favorite time signatures, 6/8. George is often reminiscent of McCoy Tyner with his piano voicings, Richie is always looking for a hole to drop a funky bass line and Aaron Walker is inventive with his unusual snare drum solo which he performs with his bare hands. Heidi elongates the piece with an interlude of lyrics by Joni Mitchell before retuning to the original story. She is careful not to leave us out there too long with Joni (Smile). Duets don't always come together like the ones performed by Louis Armstrong and Ella Fitzgerald or Sarah Vaughn and Billy Eckstein, but some are just worthy of the joy created by the two artists when they did it. Heidi has great fun with the unpredictable Miles Griffith in their blending of AIN'T MIS'BEHAVIN' / DON'T GET AROUND MUCH ANYMORE. Miles is never at a loss for words and musical ideas and this in turn keeps Heidi interestingly engaged to the brink of laughter. Compositions by Brazilian artists have increasingly found a home in the repertoires of jazz artists over the years. Antonio Carlos Jobim has been one of the most prolific contributors. Heidi includes two of his compositions. IF YOU NEVER COME TO ME, is seductive, simple and beautifully done. It further demonstrates the fact that some songs are beautiful as they are. Every song doesn't have to be re-invented (of course, that is only my opinion), and simplicity is a beautiful thing. WAVE, on the other hand starts out rubato with voice and piano (as I've heard it many times) and I expected more bossa nova. However, I was pleasantly suprprised that I was hit with a strong foot-patting medium groove that swung. It put me in mind of the kind of things at which Carmen McRae was a master; setting her listener up to go right and then she would go left. Definitely an attention getter. I can't help but think of the things I've observed and learned from the women in jazz that have come before me as I listen sincerely and comment on another artist's work. From Carmen, I remember that the thing about a singer and a song is the aspect of "believability". Like an actress protraying a character, a singer's job is to make a song believable. Therefore, choosing songs with stories that you have lived or can relate to in some way or musically sink your teeth into, I believe, creates your desired level of "believability". This is not an easy task always, but when the singer and the song come together, it's a wonderful experience for the listener. Heidi meets this challenge for me. On the reading of her slower numbers, aspects of her personal life are brought to bear on the aforementioned IF YOU NEVER COME TO ME, WHAT ARE YOU DOING THE REST OF YOUR LIFE, and YOU MUST BELIEVE IN SPRING. The latter, which very appropriately is presented with just voice and piano. To every person who ever had a dream, remember "the journey of a thousand miles begins with a step" . Heidi has made a very important one here. I hope you enjoy her unique gifts as I have and look forward with enthusiam to the ones she has yet to give. And as one vocalist to another, I am glad to extend a hand and wish for Heidi as someone once did for me, to "LET YOUR SPIRIT CHIME IN THE BREEZES OF LIFE WITH A MELODY THAT ANNOUNCES YOUR PRESENCE AND YOUR MAJESTY". |
Richie Goods
George Colligan
Alvester Garnett
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"Alone Together" was engineered by Michael Brorby at Acoustic Recording
Mixed by Michael Brorby and Heidi Martin
All arrangements by Heidi Martin
