RACHEL SUTTON - A Million Conversations
33Jazz
Rachel Sutton (vocals) Roland Perrin (piano); Bass: Michael Curtis Ruiz (bass) Paul Robinson (drums)
Rachel Sutton has worked as both an actress and a singer. Her debut album is released on 33 jazz records, a label with something of a penchant for discovering talent. Rachel's influences include Cole Porter, George Gershwin, Stevie Wonder and Billy Joel. She sang in her role in the award winning rock musical ‘The Inconsiderate Aberrations of Billy the Kid’ at Edinburgh this led to her singing full time. Rachel now works with some of the best musicians on the jazz scene and her extensive repertoire, including her own compositions, is both exciting and moving for her audiences. Her work as a lyricist has seen her collaborate with Liane Carroll and Lance Ellington, amongst others. She has performed sell out gigs at top London jazz clubs as well as venues and festivals across the UK and abroad. Her theatrical training is at the core of every song. This album was a revelation. Many singers combine drama with singing but few do it this well.
'When Love Was New ' begins the album and what a great introduction to introduce new listeners or reacquaint those familiar with Rachel's voice. Her rich tones are engaging and the lyrics are clearly stated, with an infusion of emotional narrative which brings the song to life. The introduction is slow and sets the stage for the story of expectation of love fading and lovers leaving but the joy is in being glad for what they had. What is lovely is the way Rachel switches up from alto to mezzo range with ease and loses nothing of her tone.
'Pick Myself Up' has a European rhythm from the start and a cabaret style. Again, clarity of lyrics and appropriate sassiness and lyrical interpretation make this an enchanting number, which draws the listener in because the story is told so well. There is a lovely piano solo from Roland Perrin and a pick up from the bass before the piano strolls whilst the bass walks and this little interlude is another conversation alongside the vocals - which return to finish the story. A well tempered and joyful number and I admit to finding myself with a grin on my face by the end.
'A Million Conversations' has a touch of the Mitchell about it, and is quite rightly the title track of the album. It is a beautiful ballad of many parts , spiritual and earthly. It tells of missing a loved one, the possibilities dreamed of but unfulfilled and the heart-rending aching for what might have been. Poignant and sad but with a sense also of hope and surety that the loved one is safe and will be met again. I defy anyone not to be moved.
'Kiss My Baby Goodbye' is based around a Latin flavoured rhythms, set off by percussion before the sultry flowing and sexually charged vocals lay themselves languidly over the top. Changes of rhythm are used to alter the tempo and also act as a vehicle for the change of feelings which the vocalist tells of.
When E.Y. Harburg wrote the lyrics and Jay Gorney composed the music in 1930 for 'Buddy Can You Spare A Dime' I doubt they thought it would be delivered with such style and grace 90 years later but here, Rachel and her band take the song and make it something different. The original 'Yankee Doodle Dum' becomes 'Yankee DoDoody Dum' for a start and there is a light touch of the comedic about this song, which is more true to the original as the composers said was not meant to be as depressive as the lyrics in the first place but rather make people think about supporting each other. The melancholic solo trumpet sets up the atmosphere from the start, before the piano and percussion add their layers and the vocals tell the story of a system which stole jobs during the Great American Depression along with people's self esteem. Yet, there is also an anger mixed with expectation of support. The second trumpet solo is wonderful.
Feather's 'Evil Gal Blues' is familiar as it was sung by Dinah Washington backed by Lionel Hampton's big band and later by Aretha Franklin but here, the listener is thankful for modern recording techniques which bring to the fore the quality of the composition, the layers, tempo alterations and tightness. Add to that a superb vocalist - and here is Rachel Sutton delivering with the right amount of irreverence and yet respect for the original, you have a great number - simple as that.
'The Space' is atmospheric, gentle and tells the tale of loss, bereavement and the longing of a child for her mother who has gone. The beauty of this song is in the misunderstanding and childish wonder at where her mother has gone ' do you run, do you hide, ....are you wild, do you have flair, do you dance without a case...do you miss me, do you? "
In this album you find many emotions, delivered clearly and with a passion. The lyrics are sung and respect is afforded both to these and the compositions and arrangements. Rachel Sutton delivers emotional lyrics with a surety and the arrows may just pierce part of your heart.
Rachel has that uncanny ability to emphasise the effect of some notes by deliberately landing just under the tone and rising to it, just on occasion ( when she actually aims for a note she spots it head on) which is an incredible tool for singers who want to add emotive meaning to lyrics and few master it naturally. Rachel does and I am willing to bet it is almost without thinking.
An impressive album and the music is of the highest quality.
Reviewed by Sammy Stein
33Jazz
Rachel Sutton (vocals) Roland Perrin (piano); Bass: Michael Curtis Ruiz (bass) Paul Robinson (drums)
Rachel Sutton has worked as both an actress and a singer. Her debut album is released on 33 jazz records, a label with something of a penchant for discovering talent. Rachel's influences include Cole Porter, George Gershwin, Stevie Wonder and Billy Joel. She sang in her role in the award winning rock musical ‘The Inconsiderate Aberrations of Billy the Kid’ at Edinburgh this led to her singing full time. Rachel now works with some of the best musicians on the jazz scene and her extensive repertoire, including her own compositions, is both exciting and moving for her audiences. Her work as a lyricist has seen her collaborate with Liane Carroll and Lance Ellington, amongst others. She has performed sell out gigs at top London jazz clubs as well as venues and festivals across the UK and abroad. Her theatrical training is at the core of every song. This album was a revelation. Many singers combine drama with singing but few do it this well.
'When Love Was New ' begins the album and what a great introduction to introduce new listeners or reacquaint those familiar with Rachel's voice. Her rich tones are engaging and the lyrics are clearly stated, with an infusion of emotional narrative which brings the song to life. The introduction is slow and sets the stage for the story of expectation of love fading and lovers leaving but the joy is in being glad for what they had. What is lovely is the way Rachel switches up from alto to mezzo range with ease and loses nothing of her tone.
'Pick Myself Up' has a European rhythm from the start and a cabaret style. Again, clarity of lyrics and appropriate sassiness and lyrical interpretation make this an enchanting number, which draws the listener in because the story is told so well. There is a lovely piano solo from Roland Perrin and a pick up from the bass before the piano strolls whilst the bass walks and this little interlude is another conversation alongside the vocals - which return to finish the story. A well tempered and joyful number and I admit to finding myself with a grin on my face by the end.
'A Million Conversations' has a touch of the Mitchell about it, and is quite rightly the title track of the album. It is a beautiful ballad of many parts , spiritual and earthly. It tells of missing a loved one, the possibilities dreamed of but unfulfilled and the heart-rending aching for what might have been. Poignant and sad but with a sense also of hope and surety that the loved one is safe and will be met again. I defy anyone not to be moved.
'Kiss My Baby Goodbye' is based around a Latin flavoured rhythms, set off by percussion before the sultry flowing and sexually charged vocals lay themselves languidly over the top. Changes of rhythm are used to alter the tempo and also act as a vehicle for the change of feelings which the vocalist tells of.
When E.Y. Harburg wrote the lyrics and Jay Gorney composed the music in 1930 for 'Buddy Can You Spare A Dime' I doubt they thought it would be delivered with such style and grace 90 years later but here, Rachel and her band take the song and make it something different. The original 'Yankee Doodle Dum' becomes 'Yankee DoDoody Dum' for a start and there is a light touch of the comedic about this song, which is more true to the original as the composers said was not meant to be as depressive as the lyrics in the first place but rather make people think about supporting each other. The melancholic solo trumpet sets up the atmosphere from the start, before the piano and percussion add their layers and the vocals tell the story of a system which stole jobs during the Great American Depression along with people's self esteem. Yet, there is also an anger mixed with expectation of support. The second trumpet solo is wonderful.
Feather's 'Evil Gal Blues' is familiar as it was sung by Dinah Washington backed by Lionel Hampton's big band and later by Aretha Franklin but here, the listener is thankful for modern recording techniques which bring to the fore the quality of the composition, the layers, tempo alterations and tightness. Add to that a superb vocalist - and here is Rachel Sutton delivering with the right amount of irreverence and yet respect for the original, you have a great number - simple as that.
'The Space' is atmospheric, gentle and tells the tale of loss, bereavement and the longing of a child for her mother who has gone. The beauty of this song is in the misunderstanding and childish wonder at where her mother has gone ' do you run, do you hide, ....are you wild, do you have flair, do you dance without a case...do you miss me, do you? "
In this album you find many emotions, delivered clearly and with a passion. The lyrics are sung and respect is afforded both to these and the compositions and arrangements. Rachel Sutton delivers emotional lyrics with a surety and the arrows may just pierce part of your heart.
Rachel has that uncanny ability to emphasise the effect of some notes by deliberately landing just under the tone and rising to it, just on occasion ( when she actually aims for a note she spots it head on) which is an incredible tool for singers who want to add emotive meaning to lyrics and few master it naturally. Rachel does and I am willing to bet it is almost without thinking.
An impressive album and the music is of the highest quality.
Reviewed by Sammy Stein
