Customer Reviews

A Little Moonlight

5 star:		(7)
4 star:		(5)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

Dianne Reeves, in recent releases, has opted for more of a pop-oriented production than for her early hallmark jazzy style. Here, in "A Little Moonlight," Ms. Reeves returns, thankfully, to what she does best...jazz vocals. Even more rewarding is the fact that she is backed by a young, acoustic trio that is impeccable in its playing.

Ms. Reeves mixes Rogers, Porter, and songs by other noted writers with non-standard fare. The result, thanks to the artistry of Reeves and her band, is a rewarding and varied set that includes a cocky rendition of "Loads of Love," a sentimental "What a Little Moonlight Can Do," to the every hopeful, "We'll Be Together Again."

The surprise (and somewhat out of place) song here is "Lullaby of Broadway," which, if there is to be a "hit" from this set, will get most playing time. This is both good and bad. On the one hand, this is the most whistleable song here and is the most pop-oriented. It is easy, with this song, to sink in the sugary quicksands of sentimentality. Thankfully, Ms. Reeves keeps her balance and provides a fine slightly jazzy rendition, which benefits greatly from the guest appearance of guitarist Romero Lubambo.

The remainder bears the mark of producer Arif Mardin... this is a good thing, in my opinion, as it provides a cohension and musicality that is engrossing. Ms. Reeves is presented here, not as a singer backed by a fine band, but as an instrument in her own right. A fine release.

The pop confections of Ms. Reeves previous releases are eclipsed by this ravishing set. "Let those with ears hear" fittingly describes her approach on this date. Upon repeated listening even the most musically obtuse will acquire a finer and more discerning taste for a beautiful song well performed. Listen to her take on Monk's "Reflections" and one hears a nearly sacramental wisdom drawn out of Jon Hendricks lyric. Or listen again to "You Go To My Head" and her sensitive reading will disclose a measure of erotic longing so cooly measured that by a strange alchemy yearning mutates to consummation. Nicholas Payton's brief turn savors each note with warm luxuriant savoir faire.

"We'll Be Together Again", with snapping but relaxed swing, creates a sense of musical performance transcendently attuned to the miracle of collective improvisation. The accompaniment of Reeves fellows is taut, electric and clean in the old sense of that word that one may remember from about 1955 in most northern urban areas. But on "Together Again" Ruben Rogers' bass is worth isolating for its supranatural rhythmic flare. Had I the time "I could write a book" about the songs to be sung in the sequel to this career making release.

Here one may honestly say of Ms. Reeves that she has arrived to sit at that table only few singers may share. Holiday, Vaughan, Fitzgerald, Washington and Carter are Olympian. Their number cannot be swelled by pretense or tribute. In words so deliciously and artfully sung by Ms. Reeves, "thank God, she's a woman who knows."

Dianne Reeves has a gift for being able to take a tune and make her own without being overbearing or understated. Of course that's difference between a good singer and a great one. In my opinion, Miss Reeves is the latter. Having said that, I am mesmerized by the freshness she brings to this collection of songs. Reeves really sells the lyrics here without showing off or giving in to vocal acrobatics. From her spirited rendition of loads of love to her hauntingly beautiful cry on We'll Be Together Again Miss Reeves simply shines. If this years grammy voters put talent before commericial clout, Reeves should have a shining moment at the grammys.

"Dianne Reeves' superbly focused and articulate phrasing shine in this attractive new outing." ~ Don Heckman, Los Angeles Times ~

Dianne Reeves is an impressive jazz vocalist who has left an indelible mark in my own book of "Who's Who In Jazz." I have tremendously enjoyed all her recordings from my collection including this lovely CD, "A Little Moonlight" released in 2003 by Blue Note Records, a distinguished record company catering to the big names in jazz. Likewise, this album won the 2004 Grammy for "Best Jazz Vocal Album," a well-deserved recognition for Ms. Reeves, whose artistry is always appreciated by jazz enthusiasts.

This CD reveals a set of ten timeless standards from the creative pens of the greatest songwriters and lyricists of all-time. To begin with, there's a classic from Johnny Mercer and Hoagy Carmichael, "Skylark" done in an exquisitely moving rendition that showcases the artist's dramatic vocal range.

A talented guitarist, Romero Lubambo, shares the spotlight with Ms. Reeves as they present a lovely interpretation of "Darn That Dream," a song I consider an emotional highlight from this collection. The beautiful tone of his guitar complements the singer's flawless phrasing, not overpowering but in perfect harmony, and he shines on the solo part. "Lullaby of Broadway" is also rendered in simplistic beauty with just a guitar accompaniment by Mr. Lubambo for the most part. She sounds more like a folk-singer in the sixties than a jazz diva. If you are impressed with his guitar playing, please check out Jane Monheit's version of "Embraceable You" from her bestselling CD, Taking a Chance on Love.

What good is a set of standards without a Cole Porter classic? Ms. Reeves gives a dazzling reading of "I Concentrate On You" with its warm and cozy Bossa Nova rhythm. She sings "You Go To My Head" in easy and relaxed manner with heartfelt emotion that she also evokes in "We'll Be Together Again." She is in her most exuberant self as she gives an enlivening treatment of "What A Little Moonlight Can Do," which boasts of her flair for scatting.

The creativity and best efforts of Peter Martin (piano), Gregory Hutchinson (drums), Ruben Rogers (bass), Nicholas Peyton (trumpet) and Romero Lubambo (guitar) magnified the charms of these interpretations -- all are bound to delight the listeners with great taste in jazz vocal genre, even the most discriminating ears will find this CD a sheer beauty!

A CD to enjoy for all seasons!

With my heartfelt recommendation.

Lullaby of Broadway may be the most surprising and beautiful interpretation of a song I have ever heard. I found myself listening and understanding it for the first time as poignant. Her emotional interpretation added intellectual understanding, a real attribute for a musician. Her voice is beautiful, but still real. The whole album is satisfying and a good buy for anyone who appreciates new insights into music.

I'm a late-blooming fan of Ms. Reeves, drawn by her work on the Independent Lens documentary Billy Strayhorn : Lush Life. I saw my library had this disc, A Little Moonlight, and the inclusion of one of my favorite songs (Skylark) was enough for me to check it out. A very favorable impression was made on me by the scat opening of Loads of Love, ditto I'm All Smiles. These two numbers may be more upbeat than most of the album, and very much to my taste. What possessed me to write this review, however, was her version of The Lullaby of Broadway. It's probably not my favorite version of this tune, but it IS the only version I've ever heard that could conceivably be used as a real lullaby to sing your baby to sleep. Sweet!

The more simple orchestration is wonderful and provides just the right blend of music and vocal. The subtle nuances of Dianne's exquisite voice can be very clearly heard and better appreciated. This is her best to date!

Just when you think everything's been said and done on such wonderful songs as "You go to my head", "I concentrate on you" and "We'll be together again" to name a few,here it comes Miss Reeves and does the miracle. The lightness of touch and the intimacy of this spare in arrangements and production(Arif Mardin job's particularly striking here if compared to her over arranged tribute to Sarah Vaughan) make this record a winner. Dianne is always in control, she's an old friend sitting by the fireplace and singing of old-fashioned love stories, and what fantastic stories they are, we all know the guys in the forties and fifties knew how to write lyrics. The accompaniying trio is elegant and unintrusive, guests Romero Lubambo (his acoustic guitar makes always a perfect pair with Dianne's lovely contralto)and Nicholas Payton on trumpet draw fine textures around the beauty of these evergreens.. Easy to say: it's Grammy alert once again for Miss Reeves...

With the exception of the title track, Dianne Reeves sings as though her heart isn't in what she's doing. The music saves the recording. Dianne, we want you back in the sunshine!

As usual, Dianne Reeves puts her unique brand on each song. Lullaby of Broadway is like hearing it for the first time. A terrfic complement of backup musicians makes this album all the better. It's no wonder she keeps winning Grammys.