Styles: Jazz, Vocal
Year: 2001
File: MP3@320K/s
Time: 52:37
Size: 120,8 MB
Art: Front
(3:54) 1. Will It Go 'round In Circles
(5:40) 2. Mercy Street
(7:05) 3. Tomorrow Never Know
(3:36) 4. Thieves In The Temple
(4:14) 5. This Must Be Love
(6:28) 6. Delays On The Downtown
(3:37) 7. She's Not There
(4:06) 8. The Shadow Of Your Smile
(1:23) 9. Is Love Enough
(3:13) 10. Ain't No Half Steppin'
(3:16) 11. Spooky
(6:03) 12. Nite And Day
Year: 2001
File: MP3@320K/s
Time: 52:37
Size: 120,8 MB
Art: Front
(3:54) 1. Will It Go 'round In Circles
(5:40) 2. Mercy Street
(7:05) 3. Tomorrow Never Know
(3:36) 4. Thieves In The Temple
(4:14) 5. This Must Be Love
(6:28) 6. Delays On The Downtown
(3:37) 7. She's Not There
(4:06) 8. The Shadow Of Your Smile
(1:23) 9. Is Love Enough
(3:13) 10. Ain't No Half Steppin'
(3:16) 11. Spooky
(6:03) 12. Nite And Day
Christy redefines “classics,” it’s entirely appropriate that she was signed by Chesky Records, an audiophile label that redefines the modern recording process by returning to the earliest recording techniques. Chesky works with artists who are not only great musicians, but who also must be able to stand up to a unique recording process. Take This Journey was recorded live to two-track over a three-day period at St. Peter’s Church in Manhattan. “On a Chesky recording, one doesn’t have the standard modern-day options,” Christy says. “If you make a mistake, you don’t go back to fix it. There’s no punching in vocals, no overdubs, no compression or EQ.” In approaching Take This Journey, Christy teamed with renowned bassist David Finck, who’s worked with Natalie Cole, Paquito D’Rivera, Rosemary Clooney, Ivan Lins, Dizzy Gillespie, Herbie Hancock, Freddie Hubbard, Andre Previn, and Peter Cincotti. Finck not only played the bass, but also wrote songs, handled the arrangements, and produced the CD. “In selecting material, the most important element of a song, for me, is my ability to connect with it emotionally,” Christy says.
“The songs I choose need to be able to sustain a jazz treatment, but first and foremost, I have to respect the composer’s and the lyricist’s intention within my interpretation.” Take This Journey includes material by some of Christy’s favorite artists: Wonder, Carole King, Burt Bacharach and Hal David, and Steven Sondheim, as well as David Finck. Christy grew up in a musical family her mother is a pianist and music teacher who recognized Christy’s abilities early on. She sang with her brothers and sisters six in all merging their voices. (She now finds herself more influenced by instrumentalists than vocalists, a result of finding her own voice after her early years of trying to merely blend in.) Her parents listened to the pop music of their time, the music of Cole Porter and George Gershwin music that became standards, and instilled in Christy a reverence for the music of the times, be it music of the 40’s, the 60’s, or the 80’s. By the time she was 16, Christy was performing almost nightly in a club she was underage, but with the help of her mother, she managed the necessary maneuvers. Her mother had recognized the significance of singing for Christy as a child, she’d suffered petit mal seizures, seizures that fully abated when she sang.
It was inevitable that Christy would pursue a life in the arts, and when she enrolled at Carnegie Mellon University in Pittsburgh, PA, she studied not only music, but also dance and drama. She’s worked as an actress in film, television, and on the stage, (she landed a role in Les Miserables on Broadway, but left when her desire to sing her music overtook her.) And if the words “Wonderful use of iambic pentameter…wameter” sound familiar, it’s because Christy delivered them in her portrayal of a frazzled, baby-talking mommy in a now legendary commercial for Visa. When asked about her two seemingly diverse careers, Christy responds, “I approach both types of performances in a very similar way.” In fact, she likens acting with an ensemble to singing with a band. “The way actors play off each other influences each and every performance so performances differ every night. You have to really listen to each other and react accordingly... listening makes you a better actor. It’s the same thing when working with a band You surround yourself with great musicians... really listen... and it makes you a better singer... and because of these ever-varying conversations between artists, each song sounds unique each time we perform it.” But then again with Christy, each song is bound to sound unique on any given night. She’s fueled by a passion that can’t be contained, and that passion is guaranteed by Christy’s insistence on performing material to which she’s emotionally linked. Like the songs she’s performing, Christy herself is a classic. Bio ~ http://musicians.allaboutjazz.com/christybaron
Personnel: Curtis King (vocals); David Johansen (spoken vocals); Didier Raxchou (guitar, acoustic guitar, electric guitar, nylon-string guitar, congas, percussion, drum programming, percussion programming, sampler); Pauline Kim (violin); Dave Eggar (cello); Andy Middleton (flute, soprano saxophone); William Galison (harmonica); Chris Rogers (trumpet); Dan Zank (piano); Christos Rafalides (vibraphone); John Herbert (acoustic bass); Zach Danziger (cymbals); Jeff Haynes, Gilad (percussion); Doriane Elliot (background vocals).
Steppin'
