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By Indigo Blue on February 13, 2010
Format: Audio CD
I received this as a gift and I absolutely love it . I can't stop playing it . I love her sound and the songs are a great selection .. It's the sort of music I can play all day and never tire of hearing it . It's a beautiful mix of jazz , romance , mood music and downright sex.. Highly recommended .. Go for it .. Put it on and groove . It's magic.
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Format: MP3 Music
I saw a short clip of Carol Stevens sitting in with Coleman Hawkins and Roy Eldridge (among others) titled The Great Jam Session 1958. She was trading fours - vocally - with Roy Eldridge and on another song her voice hooked me. I ran out and found a copy of this album, but it ultimately turned out not to my tastes. It still merits five stars in my opinion because (1) the backing ensemble is excellent, (2) Stevens was pitch perfect on every track, and (3) just because I personally do not care for it is no reason to penalize artists who obviously put in the effort and have talent.

The best way to determine if this is your forte (no pun intended) is to listen to the sound samples on this page. Stevens' style on this album is distinct, and what you hear in the short sound snippets is pretty much the essence of her singing on this album. If you like what you hear you will love the album.

This was recorded for Atlantic in less than a month over the course of three recording sessions in NYC. The recording dates are February 19, March 11 and 13, 1957. Stevens is backed by a large ensemble comprised of the following personnel: Nick Travis and Don Elliott on trumpet (with Elliot also on mellophone), Warren Covington and Eddie Bert on trombone, Phil Bodner on (English horn and clarinet, Herbie Mann on flute and alto sax, Sol Schlinger and Bernie Kaufman on bass clarinet (with Kaufman also on flute), and Romeo Penque on other woodwinds. The large rhythm section featured Bobby Rosengarden on vibraphone, Frank Berry and Phil Moore on piano, Barry Galbraith on guitar, Milt Hinton on bass and Osie Johnson on drums. Phil Kraus is credited with additional percussion.

For the era this was a fairly sophisticated album and Stevens was a multi-faceted vocalist who performed both pop tunes and jazz. One can almost visualize her on this album in a smokey 52nd Street club. I may not personally like the style, but cannot argue against Stevens' talent.
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