The Calling: Celebrating Sarah Vaughan

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Editorial Reviews

Barnes & Noble - William Pearl
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 ...
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Editorial Reviews

Barnes & Noble - William Pearl
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.
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.
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Product Details

  • Release Date: 2/13/2001
  • Label: Blue Note Records
  • UPC: 724352769421
  • Catalog Number: 27694
  • Sales rank: 1,633

Tracks

Disc 1
  1. 1 Lullaby of Birdland - Igor Kiskatchi (4:44)
  2. 2 Send in the Clowns - Igor Kiskatchi (6:03)
  3. 3 Speak Low - Igor Kiskatchi (6:26)
  4. 4 Obsession - Igor Kiskatchi (7:37)
  5. 5 If You Could See Me Now - Igor Kiskatchi (6:44)
  6. 6 I Remember Sarah - Igor Kiskatchi (4:20)
  7. 7 Key Largo - Igor Kiskatchi (4:11)
  8. 8 I Hadn't Anyone Till You - Igor Kiskatchi (5:41)
  9. 9 Fascinating Rhythm - Igor Kiskatchi (5:24)
  10. 10 Embraceable You - Igor Kiskatchi (7:56)
  11. 11 A Chamada (The Call) - Igor Kiskatchi (6:17)
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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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