but, intriguing background platforms that frame, spotlight and encourage the soloists. Saxophonist Pat La Barbera is on his game, always delivering as one of jazz’s most sonorous and imaginative players. Trumpeter and frequent La Barbera “Brother in Bop,” Clay Jenkins, who straddles both Hard Bop and more contemporary styles, solos heavy (“Voyage,” “Accordin’ to Gordon”). Brother Joe La Barbera, a rarity who can drive both smaller groups and big bands with equal imaginative support, shines throughout, as do his section cohorts, Bill Cunliffe (“Atlantis”), Tom Warrington (“Forgotten But Not”) and Aaron Serfaty.
“Dixie” with “Strange Fruit,” Marie took a hard left to address in music some of her pressing artistic concerns. This resulted in 2011’s Black Lace Freudian Slip (Motema) and her loving ode to America, Voice of My Beautiful Country (Motema, 2011). No, Marie had no intention of making a tribute disc and then, when she had changed her mind, she chose the perfect subject... Eartha Kitt.
If Nina Simone is the earthy, organic, dissenting voice of jazz, then Kitt was the hyper-sophisticated, cosmopolitan voice of the same. Singer, writer, actress (yes, that was Kitt playing the Catwoman on the 1960s television series Batman, Caravan is big band joy, a familial and was she not perfect, melting romp and an A+ effort in every re- the celluloid in the bargain), acgard. Why if they were still around tivist (like Marie), Kitt spread a and caught this trip, Juan Tizol and shadow long over American and Duke Ellington might even consi- European entertainment. Where der adding a vowel. Simone has had countless recorded tributes, Marie’s homage to Kitt is that artist’s first. Pure genius was the pairing of Marie and Kitt: artist and subject, kindred spirits.
Rene Marie I Wanna Be Evil: With Love to Eartha Kitt Label: Motema Music By C. MICHAEL BAILEY
Iconoclastic and often enigmatic singer Rene Marie was plain when she once said that she never wished to record a tribute disc. After four successful recordings with MAXJAZZ, including one (Vertigo (2001)) provocatively pairing
My father, while serving in the United States Army during World War II had the opportunity to see Lena Horne perform. He said that her performance was that of undistilled sex. Well, dad never listened to Kitt nor heard Marie’s tribute to her, because I Wanna Be Evil: With Love to Eartha Kitt is an unapologetic indulgence in sensual warmth and expression of that most fecund of unions. Where Marie began developing sexual creativity in song with her previous Black Lace Freudian Slip, she perfects here with the most appropriate of material.
the carnal beneath the mistletoe. Instrumentally, Wycliffe Gordon’s is perfectly conversational while Etienne Charles’ muted trumpet is opium smoke in the late evening. But in the end it is Marie who pulls off the best tribute disc of this or any other year.
Phil Woods and the Festival Orchestra New Celebration
Label: Chiaroscuro Records By JACK BOWERS
Any album with the renowned Phil Woods leading a big band (or jazz orchestra) is cause for celebration, especially so when he has written all but one of the charts and takes the bulk of the alto solos. More than fifteen years have passed since Woods last recorded with the COTA Festival Orchestra from his home precinct in Delaware Gap, PA, and that earlier album (Celebration!, Concord 4770) was nominated for a Grammy Award. This New Celebration, Woods’ second recording for Chiaroscuro, deserves no less, as it swings and sparkles from stem to stern and port to starboard, driven ever onward and upward by Woods and his talented colleagues, especially lead trumpeter Nate Ecklund and drummer Tom Whaley.
With a crack band behind her, Marie purrs her way through Cole Porter’s “Let’s Do It” and “My Heart Belongs to Daddy,” the latter guaranteed to bring color to the most jaded cheeks. “Santa Baby” one of Even though the ensemble and soKitt’s biggest hits is a celebration of loists are exemplary, what sets the All About Jazz Magazine 95