Calling: Celebrating Sarah Vaughan

Calling: Celebrating Sarah Vaughan

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by Dianne Reeves
     
 

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It takes one to know one: a great singer, that is. Dianne Reeves uses The Calling to pay tribute to one of her greatest influences, Sarah Vaughan. If Reeves hasn’t attained the vocal status of “the Divine One,” it’s not for want of trying. Reeves is a distinctive and highly personal vocalist who has firmly integrated her influences, Vaughan included. So inSee more details below

Overview

It takes one to know one: a great singer, that is. Dianne Reeves uses The Calling to pay tribute to one of her greatest influences, Sarah Vaughan. If Reeves hasn’t attained the vocal status of “the Divine One,” it’s not for want of trying. Reeves is a distinctive and highly personal vocalist who has firmly integrated her influences, Vaughan included. So in turning to some of Vaughan’s signature tunes, (“Lullaby of Birdland,” “Send in the Clowns,” “If You Could See Me Now”) Reeves brings her own sassy and sharp qualities to the party. Billy Child and Robert M. Freedman’s arrangements for 42-piece orchestra wrap around Reeves's sumptuous voice, adding rich layers of tonal depth to the proceedings. Throughout, Reeves's feeling for her idol remains genuine and heartfelt, allowing us all to hear her call.

Editorial Reviews

All Music Guide - Richard S. Ginell
The ever-restless Dianne Reeves tries to do something unconventional with an utterly conventional idea -- a tribute album to Sarah Vaughan -- and ends up overdoing the whole thing, though it's not really her fault. While the virtuosic Reeves often cannot resist reaching down into her chest register for some daring, earthy, Sassy-like swoops ("Key Largo" and "If You Could See Me Now" are key examples) or a daring vocalise like "A Chamada," she mostly retains her own identity in these 11 tunes, with a bright timbre that cannot be mistaken for that of Sassy. The element that does this project in are the overblown charts for a 36-piece orchestra that sounds a lot bigger and more congested than it is. Arranger/pianist Billy Childs (spelled on two tracks by Robert Freedman) is rarely content to relax and let a groove happen; he's too busy filling every conceivable space with all kinds of swirling, convoluted ideas that compete with, rather than enhance, the singer and the tunes. The one original tune on the session, "I Remember Sarah," opens with a scat chorus, then pianist Mulgrew Miller plays the blues, and Reeves does her familiar style of autobiographical rap in song. The best moment occurs when cagey veteran Clark Terry offers some jive talking in back of Reeves on "I Hadn't Anyone 'Til You" and some deliciously sly plunger mute trumpet work, fighting the orchestra all the way. Of course, it could be said that an over the top tribute to this larger than life diva is the only appropriate thing to do, but that doesn't make this session -- recorded quickly in the old manner -- any more listenable.

Product Details

Release Date:
02/13/2001
Label:
Blue Note Records
UPC:
0724352769421
catalogNumber:
27694

Tracks

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Album Credits

Performance Credits

Dianne Reeves   Primary Artist
Russell Malone   Guitar
Steve Wilson   Saxophone
Richard Todd   French Horn
Reginald Veal   Bass
John Fumo   Trumpet
Elizabeth Wilson   Violin
Jim Atkinson   French Horn
Brenton Banks   Violin
Rick Baptist   Trumpet
Clark Terry   Trumpet
Assa Drori   Violin,Concert Master
Henry Ferber   Violin
Maurice Grants   Cello
Greg Huckins   Woodwind
Gregory Hutchinson   Drums
Munyungo Jackson   Percussion
Armen Ksadjikian   Cello
Bill Liston   Woodwind
Romero Lubambo   Acoustic Guitar
Joe Meyer   French Horn
Mulgrew Miller   Piano
Dick Mitchell   Woodwind
Dennis Molchan   Violin
Irma Neumann   Violin
Carol Robbins   Harp
Anatoly Rosinsky   Violin
Cecilia Tsan   Cello
Shari Zippert   Violin
Patrick Gandy   Conductor
Daniel Smith   Cello
Robert Sanov   Violin
Beverly Dahlke-Smith   Woodwind
Wayne Bergeron   Trumpet
Igor Kiskatchi   Violin
Lynn Grants   Viola
Robert Berg   Viola
Eric Gaenslen   Cello
Andrew Martin   Trombone
Jennifer Munday   Violin
Thomas Dienner   Viola
Don Shelton   Woodwind
Henry Gronnier   Violin
Steven Becknell   French Horn

Technical Credits

Kurt Weill   Composer
Billy Childs   Arranger,Orchestration
Tadd Dameron   Composer
George Duke   Producer
Ogden Nash   Composer
Robert Freedman   Arranger,Orchestration
Doug Sax   Mastering
Carl Sigman   Composer
Erik Zobler   Engineer
James Gavin   Liner Notes
Jessica Novod   Art Direction

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