TINA MAY – Divas
Hep Jazz HEP CD2099
Tina May (vocals); Frank Griffiths (clarinet, tenor saxophone, arranger); Bob Martin (alto saxophone); Freddie Gravita (trumpet); Dave Cliff (guitar); John Pearce (piano); Andy Cleyndert (bass); Bobby Worth (drums)
Recorded June 1, 2 and 26, 2013
Tina May has produced many fine albums over the years, and this is another to add to the collection.
Indeed, throughout her impressive discography May has continued to develop, and has now refined her craft to the point where she has the ability to sing whatever she chooses and always adding her personality to the material.
Throughout this wonderful selection the band swing mightily providing solid support as heard on the opening track ‘Why Don’t You Do Right’, with arranger Frank Griffith getting in a nifty clarinet playing for good measure, and also getting in on the action with his tenor solo on ‘Can’t Get Out Of This Mood’.
As always Tina brings a freshness to her repertoire that can delight, even on familiar pieces that are indelibly linked to other artists. I am referring in particular of ‘Let’s Get Lost’ that Chet Baker staked a claim on in the fifties, but here May has enough to offer of her own to make a personal statement on this most romantic of songs. Coupled with the familiar is a tune not immediately identifiable as a vehicle for jazz in Brecht and Weill’s ‘Surabaya Johnny’, with an impeccable arrangement by trombonist, Adrian Fry, is a wild card that proves to be a truly captivating performance that retains the flavour of the cabaret of the 20’s and 30’s as well as displaying the singer’s versatility.
As much as the band swing, it is often the stripped down up line up with just rhythm section and perhaps one horn, that Tina can allow the full expressiveness in her voice to shine through. A perfect example of this intimate setting is the seldom heard and less familiar ‘Forgetful’ from the pen of George Handy. Guitarist, Dave Cliff, is sublime in his accompaniment making this one of the star performances of the set. Another such triumph is heard on Hoagy Carmichael’s ‘Baltimore Oriole’ where May is accompanied only by John Pearce’s compelling piano playing.
Divas will not disappoint her many followers, and should by rights find her acquiring many more.
Reviewed by Nick Lea
Hep Jazz HEP CD2099
Tina May (vocals); Frank Griffiths (clarinet, tenor saxophone, arranger); Bob Martin (alto saxophone); Freddie Gravita (trumpet); Dave Cliff (guitar); John Pearce (piano); Andy Cleyndert (bass); Bobby Worth (drums)
Recorded June 1, 2 and 26, 2013
Tina May has produced many fine albums over the years, and this is another to add to the collection.
Indeed, throughout her impressive discography May has continued to develop, and has now refined her craft to the point where she has the ability to sing whatever she chooses and always adding her personality to the material.
Throughout this wonderful selection the band swing mightily providing solid support as heard on the opening track ‘Why Don’t You Do Right’, with arranger Frank Griffith getting in a nifty clarinet playing for good measure, and also getting in on the action with his tenor solo on ‘Can’t Get Out Of This Mood’.
As always Tina brings a freshness to her repertoire that can delight, even on familiar pieces that are indelibly linked to other artists. I am referring in particular of ‘Let’s Get Lost’ that Chet Baker staked a claim on in the fifties, but here May has enough to offer of her own to make a personal statement on this most romantic of songs. Coupled with the familiar is a tune not immediately identifiable as a vehicle for jazz in Brecht and Weill’s ‘Surabaya Johnny’, with an impeccable arrangement by trombonist, Adrian Fry, is a wild card that proves to be a truly captivating performance that retains the flavour of the cabaret of the 20’s and 30’s as well as displaying the singer’s versatility.
As much as the band swing, it is often the stripped down up line up with just rhythm section and perhaps one horn, that Tina can allow the full expressiveness in her voice to shine through. A perfect example of this intimate setting is the seldom heard and less familiar ‘Forgetful’ from the pen of George Handy. Guitarist, Dave Cliff, is sublime in his accompaniment making this one of the star performances of the set. Another such triumph is heard on Hoagy Carmichael’s ‘Baltimore Oriole’ where May is accompanied only by John Pearce’s compelling piano playing.
Divas will not disappoint her many followers, and should by rights find her acquiring many more.
Reviewed by Nick Lea
