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Natalie Cressman & Secret Garden - Unfolding (2012) [Contemporary Jazz, Vocal Jazz]; FLAC (tracks)

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Mike1985
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Natalie Cressman & Secret Garden - Unfolding (2012) [Contemporary Jazz, Vocal Jazz]; FLAC (tracks)

Unread postby Mike1985 » 12 Apr 2019, 13:14


Artist: Natalie Cressman & Secret Garden
Album: Unfolding
Genre: Contemporary Jazz, Vocal Jazz
Released: 2012
Quality: FLAC (tracks)
Tracklist:
  1. Flip (Cressman) - 6:34
  2. Whistle Song (Cressman) - 8:02
  3. Honeysuckle Rose (Waller-Razaf) - 4:11
  4. Echo (Cressman) - 6:12
  5. Skylight (Cressman-Nash) - 5:57
  6. Goodbye Pork Pie Hat (Mingus-Mitchell) - 7:51
  7. Waking (Cressman) - 8:33
  8. Reaching for Home (Cressman) - 5:20
  9. That Kind (Cressman) - 9:48

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    Personnel:
  • Natalie Cressman - trombone, vocals
  • Ivan Rosenberg - trumpet
  • Chad Lefkowitz-Brown (#1-8), Peter Apfelbaum (#9) - tenor saxophone
  • Pascal Le Boeuf - piano, Fender Rhodes
  • Ruben Samama - acoustic bass
  • Jake Goldbas - drums, percussion

If John the Baptist was supposed to be the reincarnation of the prophet Elijah, then Natalie Cressman is certainly the same for Jack Teagarden. Both sing and play trombone, and that is all that's required for a spiritual connection. Cressman's debut, Unfolding, sports a crazy "Honeysuckle Rose" and a slew of fine originals. Equally capable as a vocalist and trombonist, Cressman—best-known these days as a member of Phish's touring band brass section—is also quite the decent arranger, favoring brass choral introductions not unlike fellow vocalist/trombonist Henry Darragh.

Cressman is fearless in her conquering of bassist Charles Mingus' elegy to saxophonist Lester Young, "Goodbye Pork Pie Hat." Cressman adopts the lyrics penned by Joni Mitchell's for the singer/songwriter's Mingus (Asylum, 1979), but completely and cleverly re-orchestrates the song. Introducing the piece with brass counterpoint, Cressman proceeds to vocally navigate the craggy harmony, lyrics and time of this challenging composition. Her voice is pitched well and even through the mid-range, giving the song a certain noir cast. Her arrangement turns the song into a chamber piece with solid momentum and appeal. A sweet deal.
Review by C. Michael Bailey

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