Time: 58:00
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Standards
Art: Front
01. Angel Eyes (6:08)
02. Black Orpheus (3:41)
03. Cry Me A River (5:36)
04. Don't Get Around Much Anymore (2:49)
05. Lover Man (5:05)
06. I'm Beginning To See The Light (3:24)
07. Lazy Afternoon (5:24)
08. Lush Life (3:37)
09. Can't Help Loving Dat Man (3:31)
10. I'll Be Seeing You (3:54)
11. Come Rain Or Come Shine (4:37)
12. Round Midnight (5:04)
13. My Buddy (5:04)
Released December 21, 2013 on Critical Sun Recordings, Kathryn Hettel’s “Jazz From The Heart” is a quiet album of special memories and feelings set to the intimate beat of a typical, top-shelf nightclub. A retired doctor and Washington Blues Society member, Hettel isn’t one of those well-known jazz numbers around town. Nevertheless, she’s been able to indulge in her jazz love affair as a fan and a fairly good vocalist, quietly gigging with some fierce musicians, including smooth jazz saxophonist Darren Motamedy, her own blues band, and producing this recording.
In her first track, “Angel Eyes,” the Northwest vocalist softly croons, “Excuse me while I disappear.” She does exactly that from start to finish in all the songs she loves to sing, with the vibe she grew to love thanks to her father. Growing up, Hettel was treated to live nightly shows. He’d tuck his little girl into bed, then go to his piano to play such memorable standards, “Autumn Leaves,” “Night And Day,” “September Song,” standards that would become her indelible soundtrack.
Dedicated to her father, Hettel’s “Jazz From The Heart” establishes her quiet love for the standards and the memories they bring early on. Her voice is deep, low, and sultry. It gets into the crevices of the standards she loves so much, as if she’s tried on their stories many times, as an actress tries on costumes.
Recorded locally, in Snohomish, WA’s Studio North, the album brings together some of Northwest’s finest session players and major showmen to help Hettel get to her sweet spots: bassist Evan Flory-Barnes, drummer D’Vonne Lewis, pianist Darrius Willrich, saxophonist Harold Fox, trumpeter/flugelhornist Chris Littlefield, guitarist Scott Caruso, violinist Geoffrey Castle, percussionist Jeff “Bongo” Busch, and Stephen Beaudrey on harmonica.
It’s very clear how much Hettel loves singing jazz standards with a blues force. She’s free and easy in her relaxed approach, and she’s got a supple, well-seasoned voice that conveys meaning beyond the pretty words and the melodic turns.
She conveys that love well on familiar standards “Cry Me A River,” “Don’t Get Around Much Anymore,” “Lush Life,” and “Lover Man,” without coming off too familiar or jaded. Her fresh, joyful approach lifts those standards from the run of the mill. She also puts her own quiet stamp on them.
Hettel can hit the notes. Her voice is deep, rich, and even versatile — going higher when called for. The vibrato, though, is too much. It’s reminiscent of Korean p’ansori, an ancient opera singing style involving a two-and-a-half-octave pitch range and exaggerated vibrato to the point of being oppressive.
This is a nice collection of standards that speak to Kathryn Hettel’s heart, and a nice, easy introduction to jazz for listeners not used to the hard stuff.
In her first track, “Angel Eyes,” the Northwest vocalist softly croons, “Excuse me while I disappear.” She does exactly that from start to finish in all the songs she loves to sing, with the vibe she grew to love thanks to her father. Growing up, Hettel was treated to live nightly shows. He’d tuck his little girl into bed, then go to his piano to play such memorable standards, “Autumn Leaves,” “Night And Day,” “September Song,” standards that would become her indelible soundtrack.
Dedicated to her father, Hettel’s “Jazz From The Heart” establishes her quiet love for the standards and the memories they bring early on. Her voice is deep, low, and sultry. It gets into the crevices of the standards she loves so much, as if she’s tried on their stories many times, as an actress tries on costumes.
Recorded locally, in Snohomish, WA’s Studio North, the album brings together some of Northwest’s finest session players and major showmen to help Hettel get to her sweet spots: bassist Evan Flory-Barnes, drummer D’Vonne Lewis, pianist Darrius Willrich, saxophonist Harold Fox, trumpeter/flugelhornist Chris Littlefield, guitarist Scott Caruso, violinist Geoffrey Castle, percussionist Jeff “Bongo” Busch, and Stephen Beaudrey on harmonica.
It’s very clear how much Hettel loves singing jazz standards with a blues force. She’s free and easy in her relaxed approach, and she’s got a supple, well-seasoned voice that conveys meaning beyond the pretty words and the melodic turns.
She conveys that love well on familiar standards “Cry Me A River,” “Don’t Get Around Much Anymore,” “Lush Life,” and “Lover Man,” without coming off too familiar or jaded. Her fresh, joyful approach lifts those standards from the run of the mill. She also puts her own quiet stamp on them.
Hettel can hit the notes. Her voice is deep, rich, and even versatile — going higher when called for. The vibrato, though, is too much. It’s reminiscent of Korean p’ansori, an ancient opera singing style involving a two-and-a-half-octave pitch range and exaggerated vibrato to the point of being oppressive.
This is a nice collection of standards that speak to Kathryn Hettel’s heart, and a nice, easy introduction to jazz for listeners not used to the hard stuff.
Jazz From The Heart
