Blue Notes & Red Shoes

One of the most significant American-born jazz singers based in Europe (having lived 15 years in Spain and nearly that many in the Netherlands), Deborah Carter is a delight to hear. Not only does she have a very appealing voice and a thorough understanding of jazz, but her enthusiasm is infectious. A regular at jazz festivals, an important educator, and a frequent guest with big bands, she is most often heard with her regular trio which is featured (along with guests) throughout Blue Notes and Red Shoes. With my trio, I always feel like I can fall back on a soft quilt, one that will always catch me, says Deborah. The music that we do I call 'Metropolitan Jazz'. It is music from a 21st century city where one can go to a Latin club on a Saturday night, cross the street to an r&b/jazz club, and then go a block over and experience some other kind of music. Blue Notes and Red Shoes is a blue-ish set filled with bebop, ballads, original vocalese, jazz standards, and the debut of a few superior songs. Ms. Carter is teamed with pianist Coen Molenaar and drummer Enrique Firpi (both of whom have been in her group for ten years), her husband bassist Mark Zandveld (who has been in her trio for 15 years) and such guests as guitarists Leonardo Ameudo (who often works in Brazil with Ivan Lins) and Jan Akkerman, tenor-saxophonist Simon Rigter, and trumpeter Loet van der Lee. The set begins with Bobby Timmons' Moanin' , which has both straightahead and funky sections and includes some fine scatting by the singer. My first experience with jazz was dancing to it as a little girl, remembers Deborah. Moanin' '' is the type of music that I heard when my mother would get together with her friends. The bop classic Groovin' High benefits from her vocalese lyrics (paying tribute to Dizzy Gillespie and Charlie Parker), concise solos, and catchy Latin rhythms. Deborah was inspired to purchase a couple of CDs by singer-organist Charlie Wood after seeing him perform, resulting in her discovering his swinging strut That Note Costs A Dollar. There have been a countless number of versions of Thelonious Monk's 'Round Midnight through the years, but Deborah Carter's is different because she wrote a new verse, used a fresh arrangement, and added her own phrasing to the lyrics. Most of the songs in my repertoire are at least slightly autobiographical. This is my most honest version of 'Round Midnight for I have lived this story several times over. A jubilant Meet Me, Midnight precedes the debut of the soulful Too Darn Blue. Deborah discovered the latter song while perusing My Space, immediately writing to the composer Dave Gill. Perhaps My Space will become the Tin Pan Alley of the 21st century, a new way to discover tomorrow's standards. Fran Landesman's It Isn't So Good, It Couldn't Get Better has not been recorded much since Irene Kral's version over 30 years ago but it fits today's economic crisis. The In-And Outs, written by Deborah along with her husband and her pianist, discusses a philosophical way of dealing with life. The performers sound quite at ease not only essaying the tricky chord changes but improvising in 5/4 time. Deborah starts Horace Silver's Seor Blues with her own vocalese introduction called Big Blue which perfectly sets up the tune. I'm Walking, long a part of her repertoire, really grooves at the slightly slower-than-usual tempo. Johnny Mercer's One For My Baby and Roy Meriwether's This One's On Me work together logically as a medley since they deal with similar circumstances. Closing off the colorful and memorable program is Mike Kennedy's Can't Stop It, another song that Deborah discovered while surfing the internet. The rhythmic piece, originally called Say It, has her lyrics and hot scatting to Kennedy's music. Deborah Carter has accomplished a great deal during her career thus far, and she is very much in her prime these days. Blue Notes and Red Shoes serves as a perfect introduction to her joyful artistry. Scott Yanow - eminent jazz critic / journalist and author of several books o