Reviewed by Michael Barbara

In the liner notes to her 2009 release, At Last, Ann Hampton Callaway shares a lesson she learned from the life and career of Ella Fitzgerald, “simply stated, to be your best as an artist, you need to surround yourself with the best.”  She has learned the lesson well, as her outstanding trio of Ted Rosenthal on piano, Jay Leonhart on bass, and Victor Lewis on drums clearly comprises some of the best performers on the jazz scene. 

Callaway opens with the question “What is This Thing Called Love?” – her arrangement (with Bill Mays) possesses a contagious riff by the trio, and leads into her softly swinging vocals.   Callaway provides just enough scat while trading fours with the trio, and closes with a soaring chorus that hints at all the great tunes to come.   “Comes Love,” adds the unique sound of Wycliffe Gordon on trombone, and Rodney Jones on guitar.  Callaway’s soulful vocals provide the perfect compliment to Gordon’s solos and the groove of Leonhart and Lewis.

On Joni Mitchell’s “Carey,” Leonhart adds a rhythmic background vocal, proving once again (and contrary to one of his signature compositions) that it’s not impossible to sing and play the bass!!  The title track “At Last,” begins with Callaway’s sweet presentation of the verse, and her subtle but effective interpretation of the chorus resonates well against Teodross Avery’s tenor solo, and the insistent beat of the rhythm section. 

Chick Corea’s “Spain,” is always an ambitious undertaking, and Callaway provides a dazzling rendition, with her vocal dynamics ranging from breathy whispers, to the soaring passages of the closing chorus. Emedin Rivera is featured on percussion, and serves up a Latin accent beneath Rosenthal’s piano, while the arrangement remains honest to Corea’s legendary performance, and clearly has elements of Al Jarreau’s rendition of “Spain,” sprinkled throughout.  (I have to confess, I hit the “repeat” button three times on this track.)

Jones and Rivera stay with the trio for a wonderfully laidback rendition of “Lazy Afternoon,” that has a feel to it which clearly evokes the title, and is presented almost as a jazz lullaby, that softly fades with a piano trill.  Mads Tolling is featured on violin for “Landslide,” a creative, melodic cover of the Stevie Nicks composition.  Callaway’s original (one of two featured on this release) “Save a Place for Me,” brings back Jones and Rivera, as her deeply emotional vocals are delicately balanced over a soft Latin mood.

Martin Stamm adds his flugelhorn to “Over the Rainbow,” an uncomplicated, simple arrangement that is perfectly suited to Callaway’s passionate presentation, and beautifully accented by Rosenthal’s accompaniment. 

“Finding Beauty,” another Callaway composition, will find you quietly swaying to the beat of Rivera’s percussion, punctuated by Jones’ guitar fills and solo, while Lewis provides just the right amount of drum and cymbal accents.

Softly and tastefully, Callaway closes, perhaps more than symbolically, with “On My Way to You,” as you will likely find this album finding its way into to your favorites, and recommending it to your family and friends.