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 Jazz vocalist is joined by the New Orleans Hot Jazz band on tracks like "Moonburn," "Love Me Or Leave Me" & "Lulu's Back In Town."
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Record Label: Swing Out SO103
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Tracks on
'Let Yourself Go'
| 1. Let Yourself Go -- |  Preview | | 2. Moonburn -- | | | 3. The Panic Is On -- | | | 4. Love Me or Leave Me -- | | | 5. 'tain't So, Honey, 'tain't So -- | | | 6. I Got Rhythm -- | | | 7. Lulu's Back in Town -- | | | 8. Keepin' Out of Mischief Now -- | | | 9. (we've Got To) Put that Sun Back in Sky -- | | | 10. The Man I Love -- | Preview | | 11. Concentratin' (on You) -- | | | 12. What a Little Moonlight Can Do -- | |
Reviews:
Most singers who attempt to interpret tunes from the 1920s come across
as either nostalgia acts, campy or corny. Banu Gibson is a major
exception for she sings creatively within the idiom, her voice is both
powerful and versatile and she swings without "modernizing" or
simplifying the style. This CD from her Swing Out label (along with
Swing Out 104) is quite definitive for the material is superior (with
"Let Yourself Go," "Love Me or Leave Me," an inventive version of "I
Got Rhythm" and "Put That Sun Back in the Sky" being among the
highlights), there is lots of room for solos from her New Orleans Hot
Jazz Orchestra (cornetist Charles Fardella, trombonist David Sager,
pianist David Boeddinghaus, bassist James Singleton and drummer Hal
Smith) and there are plenty of heated and exciting ensembles. This
release is highly recommended to fans of classic jazz.
~ Scott Yanow, All Music Guide
By: Rob Bamberger, WAMU-FM Wash D.C.:
Don't be misled by all the songs about the sun and moon. It might
at first glance seem to augur mild, escapist fare. In the 1920's
and 1930's, jazz and Tin Pan Alley enjoyed a mutually beneficial
association.Jazz musicians and entertainers like Fats Waller, the
Boswell Sisters, Mildred Bailey, Billie Holiday, and Louis
Armstrong worked a very distinctive magic upon popular songs.
Jazz and Tin Pan Alley parted company in the 1940's when a new
generation of jazz musicians largely abandoned "pop" to embrace
"bop". This album - to put it simply - is a corking reminder of
what jazz left behind.
Drawing upon the fine work of tunesmiths like Hoagy Carmichael,
Irving Berlin, Walter Donaldson and the Gershwins, Banu Gibson
and her New Orleans Hot Jazz Orchestra lavish upon their songs a
measure of cayenne as well as heart.
What comes across, from the first selection to the last, is that
this is no album of "singer-with-band" or "band with singer."
Banu Gibson and her New Orleans Hot Jazz Orchestra are singer
and band in total partnership. Hear, for example, how the
band provides a gentle wrap to Banu on "the Man I Love," or
boots her along mercilessly - but in perfect taste - on "What
A Little Moonlight Can Do." Cheerful results like this
happen only when a band and singer are audience to each other,
and clearly revel in what they hear.
And who wouldn't? In an age where we seem inundated with singers
of tolerable merit, Banu Gibson knows how to be individual
without being idiosyncratic. She projects so many moods so well:
she lilts, she growls, she's front porch, she's dance-hall,
she wears lace, she sports a garter. But whatever she
projects at any moment, it is always with range, accuracy and
taste. Listen to her scatter lyrics like buckshot in the rideout
of "We've Got To Put That Sun Back In The Sky," or the
marvelous way she pounces on Al Dublin's broadsheet,"Lulu's Back
In Town." And when Banu announces that she's "Keepin' Out Of
Mischief Now," you can imagine the mourners who must be filling
the streets. She does this all without overstatement, without the
"Hey-listen-ta' me-I-sound-like-a-house-afire" grandstanding to
which some jazz singers succumb in their bid to make us
remember them.
You'll have no trouble remembering Banu, or the band, whose
members not only evoke the swing and hot jazz styles which inspire
this collection but instill something wholly original and
of themselves into each of these titles. There is attention
to detail in each of these performances.
Cornetist Charlie Fardella has a remarkable internal thermostat.
He seems to know just when to play open horn, when to pick up his
mute, when to brandish the bell of his horn towards the
ceiling, and when to play at our feet. If he is sometimes a man
of few notes, he makes them count for double. Dave Sager
has immersed himself in the history of trombone since that
instrument first appeared before a recording horn, and can
conjure up the gutty, roughhewn character of Charlie Green as
well as the ethereal warmth of Tommy Dorsey.
And throughout, David Boeddinghaus' piano anchors every
performance with some of the cleanest, yet sturdy, two-handed
piano ever. When some pianists want to sound like they mean business,
they get sloppy - nut not David. He's barrelhouse with a
scrubbed face. Bassist James Singleton's background is in
progressive and modern jazz, but here he plays with all the
conviction of the old masters. And veteran drummer Hal Smith is
that rare ensemble drummer who draws from the bottomless
repertoire of textures and punctuation to make a band sound at
its best without drawing attention to himself.
Sunlight and moonlight have had few encounters with jazz that
will leave you awash in so much pleasure as here. More than fifty
years after the songs in this collection were introduced,
Banu Gibson and the New Orleans Hot Jazz Orchestra plumb
these tunes for new, and decidedly earthly delights. "Let
yourself go," Banu entices. I was gone from the very first listen.
Great!!
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 12.0%
Weak
Total Votes: 8
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List Price: $15.97
Our Price: $14.95
You Save: $1.02 (6%)
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