April Hall; Vocals, Tim Ray; Piano (Track 3, 6, 11), Mark Poniatowski; Bass (Track 5), Tom Hall; Saxophone (Track 9), Marty Ballou; Bass (Track 2), Les Harris Jr.; Drums (Track 4, 8), Joe Barbato; Accordion (Track 12), Gray Sargent; Guitar (Track 1, 10), Marshall Wood; Bass (Track 7)
Amazing Love (3:40) The first time I ever heard Amazing Love, I knew it would be a long term love affair. I really enjoy the fact that this song lyrically is about heart break, but the spirit of the song somehow remains optimistic. In fact, it touts that love is still amazing after all it’s treachery and heartbreak. Now that is amazing. After Gray arrived in the studio, we talked about the tempo and key, we pushed the record button, and off we went. One take. That was it.
Honeysuckle Rose (2:57) Honeysuckle Rose, written by the great Fats Waller, is one of those “sweet” songs, that everyone likes. But what drew me to it was the irony that the lyrics aren’t actually sweet and innocent. It’s one of those tunes from the 20’s when innuendo was king, and there is plenty of innuendo here. Its metaphoric lyrics and spacious harmony give me plenty of room to play around with the melody and have fun. This playful song, always leaves me smiling, and a duet with Marty... just can’t be anything but swinging. Marty is one of those special players that no matter what, is 110% present. He is one of the most special people I know. And to top it all off, he’s an amazing partner on the band stand, always making something special and unique happen. Game on.
To Whom it May Concern (6:14) I heard this haunting song when I was a young girl, and it was the first jazz song I fell in love with. I heard Nat King Cole sing it, and my heart just broke. I thought this is the perfect sad song. Perfect. In fact, I have loved this song so much for so long, that I never performed it until that day in the studio. A big risk to say the least, but I knew the genius of Tim Ray’s piano playing combined with my earnest affection for the song couldn’t fail. This jewel, written by Cole and Ms. Charlotte Hawkins in 1959, did not disappoint. It’s brutally honest lyrics and heavenly melody have made it one of my most treasured pieces.
I Want to Be Happy (2:37) This tune is one of those great American standards that always, always makes you feel good! It literally makes me feel happy, and at blazing tempos is just plain fun to sing. I’ve played this song every imaginable way, slow, fast and everything in between, but this duet with Les Harris Jr. is among my favorites. Les has the rare ability as a drummer, to not only swing like nobody’s business, but to imply and play melodically. He is the most melodic drummer I have ever had the privilege to play with, and it’s perfectly clear on this track how much I enjoyed this duet.
Black Coffee (4:58) Black Coffee was written by Sonny Burke in 1948. It’s been recorded by everybody, which almost kept me from recording it altogether, but it was an impromptu choice in the studio with my long time friend, and beautiful bassist Mark Poniatowski. We’d been playing this together for years, always with a very sultry bluesy overtone, which I love. Even though some of the lyrics are dated, like “stay’s at home and tends to her oven,” I’ve managed through the years to add my own ironic twist to the delivery. One of the beauties of this particular duet is I know where ever I take the mood, or the dynamics, Mark is right there with me. I can always count on him to be in the moment... ready for anything.
You’ve Changed (5:10) This is my current ballad obsession. I’ve been so consumed by it’s melody and gorgeous harmony, particularly on the bridge, that I’ve left many other ballads along the wayside, just so I can squeeze this one into every performance. Written in 42’ by one of my favorite writers, Carl Fischer, it’s a tiny reflection of all the sadness that comes down on you when the the shininess of new love wears off. “You’re bored with me in every way,” wow, that’s gotta hurt! It couldn’t be any clearer. It’s over. “You don’t need to tell me, we’re through,” ouch, that’s rough! I adore it for it’s frankness. Pair this great falling out of love, love song with Tim’s masterful interpretation, and it has everything that keeps me going as a musician. This duet is one of complete ease and trust. Tim just couldn’t be any better of a counterpart. He plays with such compassion, humor and skill and I know each time I hear him solo I’m going to hear something new, something exciting, something beautiful.
The Best Thing for You (2:42) This song is funny. It’s humorous in all the right ways and it begs to be played with a light heart and swinging soul, and that’s what the supremely talented Marshall Wood accomplished. I think it’s hysterical to suggest to your ex-lover that the best new lover for him or her would be of course, yourself.
Spring Can Really Hang You Up the Most (7:31) I’ve always loved this song because of it’s sheer beauty. It has a big melodic range, and gorgeous harmony moving swiftly throughout, just lovely. For me it’s also been the “unicorn” song that I’ve recorded many times, but never felt I had a version that was really special until now. Who knew all I needed to do was to record it with nothing but drums! The special moment I was looking for was finally captured with some of the most beautiful mallet playing I’ve ever heard. So much so, that I refused to cut down the song in any way. I just loved the fluid sounds of the drums and ringing of the cymbals, and all this space. It was heaven.
Gee Baby, Ain’t I Good To You (3:35) It’s no surprise that performing a duet with master improviser Tom Hall was going to be a fantastic journey, but even I wasn’t prepared for how many varied and diverse versions we ended up with. This cut is obviously my favorite, a true duet. We go through the tune in some of usual ways of course, but there are so many subtle time shifts, phrasing, stretching, playing. It’s a fantastic example of what having fun sounds like.
I Guess I’ll Hang My Tears Out to Dry (5:24) When the stars aligned, and the voodoo doll had been put away, the God’s smiled upon meand made it possible for Gray and myself to be in the same studio at the same time and get this track down. One of my favorite ballads in the world was finally put to the almighty tape with one of my very favorite guitar players in the world. His masterful playing makes everything about this ballad fall into place.
My Baby Just Cares for Me (3:38) This song with Tim is a very simple, straight ahead swing tune, and that is exactly why I love it. No frills, no tricks, no great mysterious harmony, just a great song with a story loaded up with a ton of good intentions. It’s a feel good song that makes me wannagrab my baby and hit the dance floor, night after night.
That’s All (6:12) Is one of the sweetest songs I’ve ever recorded, and it’s perfectly aligned with all that is right about duets with Joe. This song’s message of joy and pure devotion is personified in Joe’s generous playing and endless musicianship. In Joe’s hands, the accordion is perfection tied up into a walking pipe organ! It’s honest, heartfelt and eternally happy.
