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Carmen McRae. For Lady Day. Vol. 1. Novus 63163-2 01241 (1995)
1. Introduction
2. Miss Brown To You
3. Good Morning Heartache
4. I’m Gonna Lock My Heart And Throw Away The Key*
5. Fine And Mellow
6. Them There Eyes
7. Lover Man*
8. I Cried For You (Now Its Your Turn To Cry For Me)*
9. God Bless The Child*
10. I Hear Music *
11. I’m Pulling Through (solo piano)
12. Don’t Explain
13. What A Little Moonlight Can Do
Carmen McRae, vocals; Marshall Otwell, piano; John Leftwich, bass; Donald Bailey, drums. Zoot Sims, tenor sax*.
Recorded: Live at The Blue Note, December 31, 1983.
Many of Carmen’s later CDs were club dates. Unfortunately, popular taste often dictated the inclusion of a few pop songs into these programs. But this New Year’s Eve date at the Blue Note was part of a Billie Holiday Festival broadcast on PBS, so it’s was all classic on this night. The songs are mostly from Billie’s Decca and Columbia recordings. It’s the Café Society time when Carmen first met her.
Carmen opens with an upbeat “Miss Brown To You,” letting Marshall Otwell on piano and John Leftwich on bass announce their presence as well. It was a big song in 1935 for Billie and Teddy Wilson’s Orchestra. Then Otwell’s bass sets a different mood with the 1941 classic, “Good Morning Heartache.” While being one of Billie’s greatest tunes, Carmen’s phrasing makes it hers as well. The 1940 hit, “I’m Gonna Lock My Heart And Throw Away The Key,” changes the pace, with Otwell racing along the keys and Zoot Sims announcing his presence on tenor sax. Leftwich’s bass opens the 1939 classic, “Fine And Mellow,” written by Billie and “B-Side of “Strange Fruit.” Carmen’s version is slower than the original and has a unique verse. Then it’s another upbeat mood changer with the 1939 hit, “Them There Eyes.” Otwell’s bluesy piano opens Lady Day’s eternal calling card, “Lover Man,” written for her by Ram Ramirez. Zoot’s tenor shadows Carmen’s query and then answers a la Lester Young. Encouraged by Carmen, the next upbeat tune, “I Cried For You,” gives the tenor man space to blow. It was a hit for Billie and Wilson’s 1936 Orchestra. In the moody follow-on and a 1939 Billie original, “God Bless The Child,” Zoot’s delayed entrance and subsequent solo adds to the emotional power of Carmen’s vocal. “I Hear Music,” a 1940 hit, continues the pattern of an upbeat tune following a heart breaker. Zoot again stretches out without being overbearing. As she too rarely did in later years, Carmen sits at the piano and sings “I’m Pulling Through,” a 1940 tune. She started out as a piano player at Minton’s and later went on to play in Benny Carter’s 1940s Big Band. Singing came later. Backed by her returning rhythm section, she slips into a 1948 original, “Don’t Explain”, conveying the pain in Billie’s personal life. For her upbeat closer, Carmen uses “What A Little Moonlight Can Do,” another 1935 hit for Billie with the Wilson Orchestra.
What gives FOR LADY DAY Vol. 1 punch is the sophistication of song selection and the compatibility of the musicians. Although she had moved to California, Carmen played the Blue Note twice a year throughout the 1980s. Clearly, she and her trio were at home with a Manhattan audience. And Zoot had been a fixture on the New York jazz scene since the 1950s.
FOR LADY DAY is a fine tribute to a friend and a lasting influence in Carmen’s life.
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