Product Description
MAN WITH THE HAT This lovely record is Grace Kelly's second alto summit meeting. The first, GRACEfulLEE, was with Lee Konitz, and took place when this amazing young woman was all of 15. Still in her teens at this encounter with her 'inspiration and hero' Phil Woods, it reveals, as she points out in her informative notes (which, along with the encomiums from Phil and Monty Alexander, leave me with little of significance to say), a different perspective on the jazz and alto saxophone traditions. Much of the music she made with Lee (which is a must-hear) was on-the-spot invention, while this pairing required more planning. (It's interesting that, at this writing, Lee and Phil were planning to record together.) The splendid supporting cast includes key members of Grace's and Phil's regular groups, bassist Evan Gregor, born in 1983 and with the young altoist for three years, and drummer Bill Goodwin, who's been with Phil for what to this fan seems like forever (actually since 1974!), and for some special seasoning, the one and only Monty Alexander, who brightens any musical scene. (I've never seen an audience that Monty couldn't bring to it's feet--which he'd kept tapping.) This triumvirate enhances what Phil and Grace are up to here, which is making beautiful music, with a (to this listener) most welcome emphasis on melody. That quality imbues Grace's fine composition from which this CD takes it's title, The Man with the Hat. Stated by the two altos in perfectly intonated harmony, Grace's theme some how reminds me of Benny Carter (who comes into his own elsewhere). She is the first soloist, and it's clear that she has her own sound, and her own way of phrasing--unlike many young and gifted musicians, she does not, even at this still early stage, reveal any obvious stylistic models. Phil follows with a strong statement (with a little bow to James Moody along the way), and Monty stretches out, hinting at another irresistible piano man, the greatly missed Erroll Garner. The alto tandem recapitulates the theme--one that I'm pretty sure will be heard again. Phil's Love Song, from his Brazilian Suite, was first heard on a great double LP, 'Live from the Showboat,' in 1976, and it's nice to encounter it again in these good hands. Phil is the first soloist, Grace does some of the special tonguing that is an attribute of her style, and Monty scores again--in fact, the rhythm section is great throughout, Bill doing some of that punctuation he's so good at. People Time is a tribute to the immortal Benny Carter, with whom Phil had a very special relationship. They recorded this great theme together, in the same year (1989) that Stan Getz first did--it would become his favorite in his final years. Now we hear it for the first time with lyrics, created by Benny's (and his widow Hilma's) friend Deborah Pearl. Enhanced by Phil's obbligatos, Grace sings with a clear, sweet voice and much feeling--her voice, fittingly, has a youthful quality that her playing does not. Evan Gregor's solo adds to the success of this 'first,' and one hopes that the lyric will give People Time further exposure. Billy Strayhorn's Ballade for Very Tired and Very Sad Lotus Eaters ranks with the longest song titles of all times, but becomes much more compact as 'Bittersweet,' when done with lyrics. A showcase for Johnny Hodges, with whom Strayhorn enjoyed a very special musical relationship, it is a logical follow-up to the Carter tune, these two being the undisputed alto kings of their generation. The melody has that special Strayhorn touch for which bittersweet is a very apt term, and Grace and Phil give it full value, in that sequence. Monty offers a pretty solo, and I think Grace is the lead in the ensembles. Don't miss Goodwin's tasty brushwork. Gone is yet another showcase for Grace's composing talents--the words are in collaboration with David Greenberg. It's a wistful song, fetchingly rendered, and with a brief alto bonus. Monty doubles on the Melodica a chromatic keyboard harmonica that I recall being used (in moderation) by none other than the great Earl Hines. Cole Porter's Everytime We Say Goodbye is a challenge Grace set herself--playing with the sole support of arco bass. It comes off (Evan does a fine job of staying in tune, not a given when it comes to bowing), with the emphasis on thematic variations, and she also maintains the pulse throughout at ballad tempo. And there's that distinctive sound. The Way You Look Tonight is a great vehicle for improvisation though Jerome Kern was no friend of jazz. Charlie Parker was the first to enter it in the jazz mainstream, under various disguises, and Grace shows us some bebop chops here. The tempo is up--and stays there--and she doesn't flag, swinging, and offering some distinctive flurries. Monty comes into his own here with an interestingly constructed solo (dig that hint of Third Man Theme, for Orson Welles fans), which sets up Grace's happy theme restatement, spotting some of that special tonguing, and a neat tag-and-fade ending. Grace Kelly already has her own story to tell on the horn, and there's no doubt that she will speak volumes as time goes by. This veteran participant in the jazz scene is happy to have been around to witness her transition from prodigy to truly amazing Grace. Dan Morgenstern.
Review
Grace Kelly/Phil Woods The Man With the Hat Pazz By Carlo Wolff A Boston-based prodigy on alto saxophone, Grace Kelly plays just fine with the best, holding her own and then some. In 2008 she teamed up with alto saxophonist Lee Konitz on GRACEfulLEE. Her current soulmate is Phil Woods, the legendary alto man who will celebrate his 80th birthday in November of this year. They make beautiful music together, starting with the jaunty title track, in which Kelly s and Woods solos bracket Monty Alexander s swinging piano. Jimmy Katz Grace Kelly It s hard to tell where one saxophone ends and the other begins not surprising considering the way this CD s blend goes beyond their intertwining: Kelly s bassist Evan Gregor, whose arco solo sets her plaintive take on Every Time We Say Goodbye into high relief, and veteran Woods drummer Bill Goodwin round out the quintet, seamlessly crossing generations in this expert mainstream album. While Woods provides depth and a welcome tonal darkness, this is clearly Kelly s album. Both shine on Woods dramatic and serpentine Love Song From Brazilian Suite, and Kelly is particularly creamy on Billy Strayhorn s lushly titled Ballade for Very Tired and Very Sad Lotus Eaters. But Kelly also sings here, and she sings well. The vocal tunes a sultry, gentle rendition of Benny Carter s People Time, with lyrics by Carter s friend Deborah Pearl, and Kelly s own tune, the wistful Gone affirm her versatility and sensitivity. Her voice isn t big, but it s supple, pure and mature beyond her 18 years. The production by Kelly and her father is clean and easy, befitting arrangements tastefully spiced with percussion and melodica (courtesy of Alexander, on Gone ). This is an album that s easy to listen to but is by no means easy listening. No quotes needed here. --Jazz Times
Jazz saxophonist and vocalist Grace Kelly recorded her debut album Dreamin' in 2004 at the remarkably young age of twelve. Now eighteen, Kelly has released her sixth album, Man With the Hat, sharing billing with veteran sax man Phil Woods. The album's title was inspired by the first time Kelly played with Woods. The elder musician was so taken by the young musician's playing, he literally took his hat off and presented it to her. The album opens with the title track, composed by Kelly as a tribute to the 80 year old alto player. The alto duo harmonize on the head of that swinging title tune, setting up a relaxed but authoritative forty minutes of straight-ahead jazz. Woods' own "Love Song" allows he and Kelly to stretch out on a serene Latin ballad. Woods is particularly expressive during his darkly romantic solo. Kelly gives her horn a rest, instead singing "People Time," Benny Carter's melody with lyrics by Deborah Pearl. Her unaffected vocal is ably supported by Woods' rich accompaniment. The third and final pairing of the two altos is another slow, sultry number, Billy Strayhorn's "Ballad For Very Tired and Very Sad Lotus-Eaters." A trio of expressive musicians support Kelly and Woods. Monty Alexander handles piano duties, while the rhythm section is Evan Gregor on bass and Bill Goodwin on drums. Cole Porter's classic "Every Time We Say Goodbye" is singled out for a sparse arrangement, played as a duet between Kelly's alto and Gregor's sympathetic bass. It's a nice feature for Gregor, expertly employing a bow for his upright. The result, though the album's briefest track, is a distinctively hypnotic bit of introspection. The remaining two tunes are features primarily for Kelly, without participation from Woods. "Gone" is a collaborative composition by Kelly and David Greenberg. It's the second of Kelly's vocal features, unfortunately lacking an especially strong melody. Pianist Alexander adds some tasty Rhodes and melodica noodling to the mix, which adds a distinctive quality to what is otherwise a weaker spot. Thankfully the closer, a jaunty arrangement of "The Way You Look Tonight," is an album highlight. Alexander again deserves special recognition for his inventive piano work. Man With the Horn is a low-intensity display of tasteful jazz, featuring both a new voice and an old one. Much more a showcase for the still developing talents of Grace Kelly, the album presents her as an accomplished player with an exciting future. The presence of Phil Woods on four of the seven tracks adds the touch of a seasoned veteran. It adds up to an album worth hearing. --Seattle Sentinel
Grace Kelly and Phil Woods - Man with the Hat - Pazz Productions On a rocket trajectory.... Grace Kelly and Phil Woods - Man with the Hat - Pazz Productions Pazz 18- 11 - 43:18 - ****?: (Grace Kelly, alto sax and vocals; Phil Woods, alto sax; Monty Alexander, piano, Rhodes and melodica; Evan Gregor, bass; Bill Goodwin, drums; Jordan Perlson, percussion) Child prodigies seemingly arrive every year in the greater jazz community, but it takes talent, charisma, some lucky breaks, and the support of established musicians to close the deal. Having good looks and a passable singing voice can also provide a public buzz. (And did I say a famous name couldn t hurt..) Grace Kelly is getting heavyweight praise, and her new CD with alto sax legend Phil Woods, Man with a Hat, brings out some of the same expectations that were focused on Esperanza Spalding a few years ago. Phil Woods first heard Grace when she was only 14 years old and was so impressed that he gave her his trademark leather hat. He had been told about Grace by another legend, Lee Konitz. He states in the press literature that she plays so well that Bird, Rabbit (Johnny Hodges) , and Benny Carter would be equally pleased. Hyperbole? I don t know if I would go as far as Woods praise, but Grace, now 18 years old, certainly can play. She has a mature tone well past what one would expect from an artist old enough to vote but not yet legal to buy a beer in most States. Grace was born in 1992 and her birth name was Chung, but when her mother remarried , Grace took on her step father s name, and with her new name and childhood talent, she was halfway there, certainly a name to remember if she had the talent to back it up. Backed by her own label, she had put out four CDs already prior to this new issue. Her first was at age 12! The Man With the Hat is the opener and Grace certainly can swing. Her blend with Woods is effortless and she takes the opening solo. Her tone is swinging with clear intonation. It s light mid-register bop here and she shows she belongs with a group of this caliber. Love Song from the Brazilian Suite follows, and Grace and Phil are simpatico, sounding like they have played together for years. The great Monty Alexander plays a supple piano line that adds to the mood of contentment. Benny Carter s People Time shows Grace s vocals to be a bit below par compared to her alto blowing but to expect the same maturity from such a young vocalist is not quite fair. Phi s obbligatos save the day and Evan Gregor s bass solo is sublime. Ballad for Very Tired and Very Sad Lotus-Eaters by Billy Strayhorn is where Ms. Kelly really shines as she shows a lyrical swing quality well beyond her years. I can appreciate the comparison to Benny Carter, and Johnny Hodges as the standard that Grace is shooting for. A long way to go, but for her age, her progress is truly remarkable. Gone , written by Grace, provides an opportunity to hear Alexander play the melodica, which is a real treat. Grace is the only sax on the last three tracks and this provides a chance to judge her on her own merits without Woods prowess. Every Time We Say Goodbye finds Grace in a duo with bassist Gregor. I studied this track with rapt attention to check out the real Grace. At ballad tempo she explores the lower range of her alto, and although not mastered, I again marveled what control this young woman has. She will develop more dynamics to fill out her sound surely as her tone matures even more. The Way You Look Tonight is a natural for her and she proves she has be-bop credentials and she can play at a fast pace without pause. I came away from this CD impressed with Grace Kelly. Her accolades from critics and numerous major jazz figures are deserved and earned. Well done! --Audiofile
- Product Dimensions ? : ? 4.9 x 5.6 x 0.4 inches; 2.98 ounces
- Manufacturer ? : ? CD Baby
- Original Release Date ? : ? 2011
- Date First Available ? : ? February 6, 2011
- Label ? : ? CD Baby
- Number of discs ? : ? 1
