(JazzPlanet) Cal Tjader - Carmen McRae - Heat Wave (Eac Flac Cue)

Cal Tjader - Carmen McRae - Heat Wave








Artist: Carmen McRae
Title: Heat Wave
Number of Discs: 1
Release Date: 31 Jul 1982
Label: CONCORD JAZZ
Genre: JAZZ
Style: Standards, Vocal Jazz, Bop
Source: Original CD


Exact Audio Copy V1.0 beta 3 from 29. August 2011
Used drive: HL-DT-STDVDRAM GSA-E10L
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 2)(AR v1)
Size Torrent: 232 Mb
Front cover


TrackList:

1. Heat Wave 3:02
2. All In Love Is Fair 4:23
3. Besame Mucho 5:22
4. Evil Ways 5:13
5. Do Nothing Till You Hear From Me 3:08
6. Love 3:02
7. Upside Down 4:29
8. The Visit 4:11
9. Speak Low 4:46
10. Don?t You Worry 'Bout A Thing 3:40


Personnel:


Cal Tjader - vibraphone
Carmen McRae - vocals
Ramon Banda - timbales, percussion
Poncho Sanchez - congas, percussion
Rob Fisher - bass
Mark Levine - piano
Vince Lateano - drums
Marshall Otwell
Al Bent - trombone
Mike Heathman - trombone



Listen to samples

http://www.amazon.com/gp/recsradio/radio/B0000006E3/ref=pd_krex_dp_a

http://www.youtube.com/watch?v=XLWll2UCkac&feature=related

http://www.youtube.com/watch?v=Z5mZkML3ug8&feature=related

http://www.youtube.com/watch?v=bSgDbprBgiA


Biography

Carmen Mercedes McRae (April 8, 1920 ? November 10, 1994) was an American jazz singer, composer, pianist, and actress. Considered one of the most influential jazz vocalists of the 20th century, it was her behind-the-beat phrasing and her ironic interpretations of song lyrics that made her memorable.[1] McRae drew inspiration from Billie Holiday, but established her own distinctive voice. She went on to record over 60 albums, enjoying a rich musical career, performing and recording in the United States, Europe, and Japan.


McRae was born in Harlem to Jamaican immigrant parents, Osmond and Evadne McRae. She began studying piano when she was eight, and the music of jazz greats like Louis Armstrong and Duke Ellington filled her home. She met singer Billie Holiday when she was just 17 years old. As a teenager McRae came to the attention of Teddy Wilson and his wife, the composer Irene Kitchings Wilson. One of McRae's early songs, "Dream of Life" through their influence, was recorded in 1939 by Wilson?s longtime collaborator Billie Holiday.[2] McRae considered Holiday to be her primary influence.

In her late teens and early twenties, McRae played piano at a New York club called Minton's Playhouse, Harlem's most famous jazz club, sang as a chorus girl, and worked as a secretary. It was at Minton's where she met trumpeter Dizzy Gillespie, bassist Oscar Pettiford, and drummer Kenny Clarke. Had her first important job as a pianist with the Benny Carter's big band (1944), worked with Count Basie (1944) and made first recording as pianist with Mercer Ellington Band (1946-1947). But it was while working in Brooklyn that she came to the attention of Decca?s Milt Gabler. Her five year association with Decca yielded 12 LPs.

In 1948 she moved to Chicago with comedian George Kirby. She played piano steadily for almost four years before returning to New York. Those years in Chicago, McRae told Jazz Forum, "gave me whatever it is that I have now. That's the most prominent schooling I ever had."[3] Back in New York in the early 1950s, McRae got the record contract that launched her career. In 1954, she was voted best new female vocalist by Down Beat magazine. She married bassist Ike Isaacs in the late 1950s.

Among her most interesting recording projects were Mad About The Man (1957) with composer Noël Coward, Boy Meets Girl (1957) with Sammy Davis, Jr., participating in Dave Brubeck's The Real Ambassadors (1961) with Louis Armstrong, a tribute album You're Lookin' at Me (A Collection of Nat King Cole Songs) (1983), cutting an album of live duets with Betty Carter, The Carmen McRae-Betty Carter Duets (1987), being accompanied by Dave Brubeck and George Shearing, and closing her career with brilliant tributes to Thelonious Monk, Carmen Sings Monk (1990), and Sarah Vaughan, Sarah: Dedicated to You (1991).

As a result of her early friendship with Billie Holiday, she never performed without singing at least one song associated with "Lady Day", and recorded an album in 1983 in her honor entitled For Lady Day, which was released in 1995. Some songs included are; "Good Morning Heartache", "Them There Eyes", "Lover Man", "God Bless the Child", "Don't Explain", just to name a few. McRae also recorded with the world best jazz musicians, Take Five Live (1961) with Dave Brubeck, Heat Wave (1982) with Cal Tjader, and Two for the Road (1989) with George Shearing.

Carmen McRae sang in jazz clubs throughout the United States?and across the world?for over fifty years. McRae was a popular performer at the legendary Monterey Jazz Festival (1961-1963, 1966, 1971, 1973, 1982). Performing with Duke Ellington's at the North Sea Jazz Festival in 1980, singing "Don't Get Around Much Any More", and at the Montreux Jazz Festival in 1989.[4]

Carmen McRae was forced to retire in 1991 due to emphysema.[5] McRae died on November 10, 1994, in Beverly Hills, California from a stroke, following complications from respiratory illness.



review

Let me start by saying that if your idea of jazz does not include "outside" influences, then forget it, if you think that there can be a "pure" form of jazz, then go somewhere else. This recording is one of the earlier truly equal marriages of jazz and Latin music, where both parts work together, and the playing is fantastic! The whole band works as one unit, no small feat when there are two (beautifully understated when that is what's required) trombones and one singer.

With this recording, Carmen McRae continues the well established tradition (see Billie Holiday, Cassandra Wilson, Christian McBride etc etc etc) of taking pop songs and giving them a new workout. She takes Evil Ways, originally by Tjader's former band member Willie Bobo, and gives it the sultriest rendition I have ever heard, and her versions of Don't You Worry 'Bout a Thing, All is Fair and Heat Wave have real personality and warmth. (Possibly the only downside for me is McRae's vocals on Besame Mucho, but I only noticed the problem since I began learning Spanish!)

Cal Tjader executes one of the best solos of his recorded career on Evil Ways, and plays with great sensitivity on Upside Down and Besame Mucho. This was the last album Tjader made before he died, and when conguero Poncho Sanchez then struck out on his own, he took part of the band with him. Who could blame him? These guys can really play!

The repertoire swings from jazz to Latin, deliacte (Upside Down, All is Fair), to powerful (Love, Evil Ways) and everybody handles everything easily, including the merengue interpretation of Love with the drum kit playing a modification of a standard jazz patterns, as well as all the Latin-izing. And what a wonderful change it is to hear Latin jazz album that is not purely Cuban or Brazilian influenced, but takes ideas and rhythms from a few places. The recording quality is smooth and clear, everthing you could possibly want is right here.

Jazz? No. Latin jazz? You bet, and awesome Latin jazz at that!