JAM: October/November 2002 Issue: For the Record Extra

Another View

There has been a buzz around town lately regarding JAM's decision last summer to bump a potentially controversial review. Because such objectivity is also capable of stimulating lively discussion, we have changed our tune. Here is the sequestered review you may have heard about. Feel free to let us know your thoughts. -- MM

Karrin Allyson
IN BLUE
Concord Jazz
CCD-2106-2

Reviewed by Michael Ragan

Personnel: Karrin Allyson, vocals; Danny Embrey, guitar; Mulgrew Miller, piano, Fender Rhodes; Peter Washington, bass; Lewis Nash, drums; Steve Wilson, alto & soprano saxophones

Tracks: Moanin'; Everybody's Cryin' Mercy; Long as You're Living; The Meaning of the Blues; My Bluebird; Hum Drum Blues; How Long Has This Been Going On?; West Coast Blues; Evil Gal Blues; Blue Motel Room; Bye Bye Country Boy; Love Me Like a Man; Angel Eyes

Recorded February 11-14, 2002 at Sear Sound, New York, NY and March 19-20, 2002 at G Studio Digital, Studio City, CA; Josiah Gluck, engineer.

Having moved from Chicago in recent months, I can substantiate Kansas City's conviction that it has a rich pool of female vocal talent, both onsite as well as those who have left to seek their fortunes.

Former Kansas Citian (and now New Yorker) Karrin Allyson's In Blue is an aggregation of tracks that are in some fashion related to the blues, if only in name. The eclectic grouping includes familiar material that should satisfy most, and esoteric tunes that may annoy others. Allyson is to be applauded for her gamble to include songs by a number of these underrecorded composer/lyricists.

Allyson begins with Bobby Timmons' "Moanin'," a great tune that works because of one of the more swinging quintets that I have had the opportunity to hear. One could sound pretty good just singing whole notes in front of this group. There is some discomfort, however, with the attempt at unison lines and subsequent scatting, which is a continuing theme throughout much of the album.

Allyson's instrument is better suited for Mose Allison's "Everybody's Cryin' Mercy," which showcases his cunning lyrics.

Two tunes are included from the ultimate jazzer, Oscar Brown, Jr., "Long as You're Living" and "Hum Drum Blues." The former includes a difficult unison theme with the bass and allows Allyson a scat in conjunction with the percussion that works quite well. The latter suffers from cute lyric syndrome and is rescued by Mulgrew Miller's fine piano. As throughout the disc, Lewis Nash's playing is exactly where it should be.

Bobby Troup's "The Meaning of the Blues" allows Allyson to showcase possibly the best set of lyrics this side of Mercer/Burke's "Midnight Sun." A far better, but rarely heard work by the composer of "Route 66," it merits a listen especially to appreciate Wilson's fine control over his wistful soprano sax.

"My Bluebird" by Tommy Flanagan is next, with lyrics by Jay Leonhart. The head is a difficult theme with odd rhythmic and interval devices on which Allyson generally acquits herself.

"West Coast Blues," a blues waltz in one, showcases the timbre of Allyson's instrument in a good light, especially in the introduction with local guitarist Danny Embrey.

"Evil Girl Blues" and "Love Me Like a Man" are two of the cuts that do not work as well, specifically due to the lack of a requisite raw edge in the vocals. Missing is the necessary "roadhouse" quality that these tunes demand.

The surprise is how complimentary Allyson's voice is to Joni Mitchell's "Blue Motel Room," and Blossom Dearie's "Bye Bye Country Boy." The former is an intriguing tune with unique lyrics and a tessitura that lends well to Allyson's capabilities. The second, an ironic waltz, is just a fun four minutes.

It is normally desirable to perform songs that expand one's book. But, one must also titrate that inclination with an eye towards playing to your strong suit. Here, Allyson succeeds with a stellar selection of songs, some of which, however, may have been better left for others to have performed.






	Search our site:		Another View There has been a buzz around town lately regarding JAM's decision last summer to bump a potentially controversial review. Because such objectivity is also capable of stimulating lively discussion, we have changed our tune. Here is the sequestered review you may have heard about. Feel free to let us know your thoughts. -- MM Karrin Allyson IN BLUE Concord Jazz CCD-2106-2 Reviewed by Michael Ragan Personnel: Karrin Allyson, vocals; Danny Embrey, guitar; Mulgrew Miller, piano, Fender Rhodes; Peter Washington, bass; Lewis Nash, drums; Steve Wilson, alto & soprano saxophones Tracks: Moanin'; Everybody's Cryin' Mercy; Long as You're Living; The Meaning of the Blues; My Bluebird; Hum Drum Blues; How Long Has This Been Going On?; West Coast Blues; Evil Gal Blues; Blue Motel Room; Bye Bye Country Boy; Love Me Like a Man; Angel Eyes Recorded February 11-14, 2002 at Sear Sound, New York, NY and March 19-20, 2002 at G Studio Digital, Studio City, CA; Josiah Gluck, engineer. Having moved from Chicago in recent months, I can substantiate Kansas City's conviction that it has a rich pool of female vocal talent, both onsite as well as those who have left to seek their fortunes. Former Kansas Citian (and now New Yorker) Karrin Allyson's In Blue is an aggregation of tracks that are in some fashion related to the blues, if only in name. The eclectic grouping includes familiar material that should satisfy most, and esoteric tunes that may annoy others. Allyson is to be applauded for her gamble to include songs by a number of these underrecorded composer/lyricists. Allyson begins with Bobby Timmons' "Moanin'," a great tune that works because of one of the more swinging quintets that I have had the opportunity to hear. One could sound pretty good just singing whole notes in front of this group. There is some discomfort, however, with the attempt at unison lines and subsequent scatting, which is a continuing theme throughout much of the album. Allyson's instrument is better suited for Mose Allison's "Everybody's Cryin' Mercy," which showcases his cunning lyrics. Two tunes are included from the ultimate jazzer, Oscar Brown, Jr., "Long as You're Living" and "Hum Drum Blues." The former includes a difficult unison theme with the bass and allows Allyson a scat in conjunction with the percussion that works quite well. The latter suffers from cute lyric syndrome and is rescued by Mulgrew Miller's fine piano. As throughout the disc, Lewis Nash's playing is exactly where it should be. Bobby Troup's "The Meaning of the Blues" allows Allyson to showcase possibly the best set of lyrics this side of Mercer/Burke's "Midnight Sun." A far better, but rarely heard work by the composer of "Route 66," it merits a listen especially to appreciate Wilson's fine control over his wistful soprano sax. "My Bluebird" by Tommy Flanagan is next, with lyrics by Jay Leonhart. The head is a difficult theme with odd rhythmic and interval devices on which Allyson generally acquits herself. "West Coast Blues," a blues waltz in one, showcases the timbre of Allyson's instrument in a good light, especially in the introduction with local guitarist Danny Embrey. "Evil Girl Blues" and "Love Me Like a Man" are two of the cuts that do not work as well, specifically due to the lack of a requisite raw edge in the vocals. Missing is the necessary "roadhouse" quality that these tunes demand. The surprise is how complimentary Allyson's voice is to Joni Mitchell's "Blue Motel Room," and Blossom Dearie's "Bye Bye Country Boy." The former is an intriguing tune with unique lyrics and a tessitura that lends well to Allyson's capabilities. The second, an ironic waltz, is just a fun four minutes. It is normally desirable to perform songs that expand one's book. But, one must also titrate that inclination with an eye towards playing to your strong suit. Here, Allyson succeeds with a stellar selection of songs, some of which, however, may have been better left for others to have performed. RETURN TO OCTOBER/NOVEMBER 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2002. All rights reserved.