Amber Weekes – Pure Imagination

Amber Weekes – Pure Imagination
Released – 3 January 2020

Amber Weekes’ biography says she’s a “straight-ahead jazz” vocalist.

She never strays far from that brand, but there’s a lot of versatility in the selections she chooses on this set.

Lightly swinging through most of a baker’s dozen tunes, ranging from Cole Porter to Duke Ellington.  There’s a new standard from Paul Simon (a gospel-tinged “Gone At Last”), and two versions (Ballad and Bossa) of Johnny Mercer’s “When October Goes,” an unfinished lyric picked up and finished by Barry Manilow.

Exceptions are a pair written by Oscar Brown – the classic “Brown Baby,” covered by artists ranging from Mahalia Jackson to Diana Ross over the years.  Trevor Ware delicately backs this one on bass.  You’ve probably never heard Mr. Brown’s classic “The Snake,” performed like this before.  (Yes – that one, made famous in the 70s by Al Wilson.)  Mr. Brown is also represented with “Mr. Kicks,” from a theatrical effort that never made it to the stage in the early 60s.

A pair of duets – Sue Raney joins on “Pure Imagination,” and Mon David on “The Way He Makes Me Feel.”

Backed by a band that sounds bigger than it is, it’s a diverse set, but even with the occasional arrangement that strays, Ms. Weekes brings it back to Main Street.  Credit also to a team of recording engineers, as well as Mr. Ware, who co-produces

This set is highly recommended.

Lizzie Thomas – New Sounds From The Jazz Age

Some tire of what is called the “Great American Songbook.”
Yeah, I’m not one of those.


Lizzie Thomas – New Sounds From The Jazz Age
(Self-Published)
Released – 24 January 2020

From Wikipedia: “The Great American Songbook…is the canon of the most important and influential American popular songs and jazz standards from the early 20th century. (It refers) to a loosely defined set including the most popular and enduring songs from the 1920s to the 1950s…created for Broadway theatre, musical theatre, and Hollywood musical film.”

I prefer to think of each of these classics as a blank canvas onto which talented artists can project their style. Not unlike a painting, it may resonate or not.

In this fourth set of recordings from Lizzie Thomas, she pairs her versatile, supple voice with a backing band that provides a perfect frame, led by pianist John Colianni arranging. Jay Leonhart and Boots Maleson on Bass, Russell Malone and Matt Chertkoff on guitar, Omar Daniels on tenor sax and flute, Felix Peikli on clarinet, Bernard Linette on drums, and Doug Hendrichs on percussion.

But make no mistake – it’s Ms. Thomas up front, flowing around and through the backing like a stream – be it moving quietly or rushing through the rapids.

The collection of tunes includes a pair of Gershwins (“Fascinating Rhythm” and “Our Love Is Here To Stay”), and two Porters (“You’d Be So Nice To Come Home To” and “In The Still Of The Night”).

There’s one each from Berlin (“Cheek To Cheek”), Ray Noble (“The Very Thought Of You”), and “Close Your Eyes,” written by Bernice Petkere, who Mr. Berlin once called “The Queen of Tin Pan Alley.”

There’s the nearly-obligatory Jobim number – although I’ll bet you’ve never heard “One Note Samba” executed like this – and Duke Ellington’s “I Didn’t Know About You.”

And if the painter would never paint the same subject the same way twice – so it is with the music. “I can call a tune for the rest of my life, and I will never sing it the same way,” Ms. Thomas says. “That’s freedom, that’s provocative – that’s jazz.”

This collection of standards comes very highly recommended.