Album: Dreams & Shadows / Artist: Judy Wexler / 13 tracks / Jazz Vocals / Available Now
Jazz
vocalist Judy Wexler delivers a spooky performance on her new CD Dreams &
Shadows. On the fifth track, she adapts the Buddy Buie / James Cobb Jr. /
Harry Middlebrooks / Mike Shapiro, light rock song “Spooky,” which was made
popular by Dusty Springfield in the 1960’s. Gilbert Castellanos’ soulful
trumpet introduces the new arrangement, and one of my favorite bassists Darek
Oles establishes a deep, rich bassline. Backed by some superb work by
percussionist Steve Hass, Wexler serves up a flirtatious, sexy interpretation
that would bring a smile to the late Dusty Springfield’s face. Some singers
tend to think slurring their phrases makes them sound sexier. Personally, I
think it makes them sound inebriated. Mercifully, Wexler delivers clear
phrases, without sacrificing any of the emotion. Her voice is pretty, and she
demonstrates great vocal range, particularly on the last few lines of
“Spooky.”
Wexler turns next to one of America’s most prolific composers, Harold Arlen, and his song, “If I Only Had A Brain,” from the movie the Wizard Of Oz. Wexler’s soaring vocals are infused with the same joy that I recall, when as a child Ray Bolger’s character, the Scarecrow, first sang the tune in the movie The Wizard Of Oz. Arlen’s reputation as a composer was recognized by the Recording Industry Association of America, when they named “Somewhere Over The Rainbow,” as the twentieth century’s number one song.
Wexler is hauntingly lonely, while singing the Fifth Dimension’s “One Less Bell To Answer,” (written by Burt Bacharach / Hal David). While the singer mourns the loss of a love that has slipped away, “One less bell to answer / One less egg to fry / One less man to pick up after / no more laughter,” I was wondering when the years had slipped away, and now an entire generation or more are hearing some of the great songs from the sixties and seventies for the first time. The singer’s phrasing evokes vivid scenes, particularly when it comes to the imagery of a doorbell ringing which incites both expectation and hope that the one you lost will be standing at the door.
Wexler becomes a siren with her rendition of the Blossom Dearie / Jack Segal song, “Bye, Bye Country Boy,” a ballad about a singer who performs at county fairs and meets up with an adoring male fan, with whom she shares a tryst. Oles’ solo acts as a bridge, before Wexler’s vocals signal resignation, as the singer realizes she is saying goodbye forever, to a man whom she wished had convinced her to stay.
In her interview with Susan Stamberg of NPR, Wexler confessed to preparing for Sonny Rollins’ lightening fast, “Pent Up House,” by singing the lyrics over and over again. Any stay at home parent, with kids crying in the background, laundry to do, meals to prepare and just trying to find a few quiet moments, will either smile and nod at the realistic depiction in this song, or cringe at the reminders. Rollins (tenor saxophone) first recorded the hard bop song in 1956 with trumpeter Clifford Brown and drummer Max Roach.
Another memorable moment from Judy Wexler’s Dreams & Shadows, comes in the form of her lamenting vocals, as she sings Elvis Costello’s, “Almost Blue,” while accompanied by Gilbert Castellanos’ mournful, muted trumpet.
Riveting Riffs gives Judy Wexler two thumbs up for her album Dreams & Shadows. If you want to hear a great vocal performance, from a versatile artist, who is accompanied by some equally talented by musicians than make sure you purchase this CD.
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Reviewed April 2008
