After enjoying accolades while singing, performing and touring with icons in numerous genres as a support artist, La Tanya Hall re-emerges as a multi-faceted jazz vocalist and interpreter extraordinaire with her first full-length album in a decade.
Though her gorgeous, emotionally intuitive vocals take center stage, the expansive collection is, at heart, a collaborative effort with Unison, a newly formed NYC trio led by Hall’s husband Andy Milne on piano, featuring John Hebert on bass and Clarence Penn on drums. Say Yes was produced and arranged by Milne, a distinct and respected voice at the heart of NYC’s creative jazz scene for over 20 years.
While Say Yes is technically a follow-up to La Tanya’s 2009 recording, It’s About Time, she sees Say Yes as the first project that is a true reflection of her artistic spirit. Fans wondering why it took her so many years to return to the studio can look to her busy schedule touring these past seven years with Steely Dan – and her 10-year career as an instructor, passing along her experience and expertise to the next generation of singers as Associate Professor of Jazz Voice at Oberlin Conservatory and at The New School in NYC.
Over the years, La Tanya’s versatility in a multitude of genres has made her a first-call vocalist for some of music’s most celebrated artists, including Diana Ross, Bobby McFerrin, Harry Belafonte, Michael McDonald, Burt Bacharach, Quincy Jones, Aretha Franklin, Rob Thomas, Patti Labelle, Michael Feinstein and Steve Tyrell. Developing her solo artistry, she has performed in recent years at some of New York’s most renowned venues, including Jazz at Lincoln Center, Birdland, Symphony Space, Iridium, and Feinstein’s/54 Below. In addition, she has appeared as a soloist with the American Composer’s Orchestra, The Colorado Symphony, the Jefferson Symphony and the St. Louis Symphony.
“I have been busy singing with everybody else,” La Tanya says, “and even though my first album received critical acclaim, it featured arrangements that I couldn’t fully immerse myself in vocally and as an artist. So, with Say Yes, I was eager to present material that would support and showcase my disposition and broad range of musical tastes. Working so closely with my husband afforded me a trusting, collaborative dynamic that allowed me to sing as fully and as freely as I could."
Besides her exquisite vocal tone and Milne’s elegant arrangements and piano work, the most remarkable aspect of Say Yes is La Tanya’s unique choices of material – a set list that truly reflects her deep musical curiosity, spanning generations and many genres. She reaches outside the jazz realm with lush re-imaginings of folk-rocker Jonatha Brookes’ “Because I Told You So” (which the singer calls “the most personal song on the album to me”) and Joni Mitchell’s “The Fiddle and the Drum” – a Vietnam era tune whose poetry resonates perfectly in response to today’s intense socio-political climate. Another remarkable theme that La Tanya develops with this recording is the decision to re-interpret classic jazz pieces that originated as instrumentals before lyrics were added later. These include “All You Need To Say,” which first appeared as the instrumental “Never Say Yes” on Cannonball Adderley’s 1961 album with Nancy Wilson; Benny Golson’s “Whisper Not,” whose lyrics were added later by Leonard Feather; “Pannonica,” Thelonious Monk’s tribute to elusive “patron saint of jazz” Pannonica de Koenigswarter, with lyrics added later by Jon Hendricks; another Monk-Hendricks classic, “Well You Needn’t”; and Clare Fischer’s “Pensativa,” whose lyrics were later penned by Norma Winstone.
In addition, La Tanya reaches back to 1944 and revamps Cole Porter’s classic, “Ev’ry Time We Say Goodbye,” incorporating a Pablo Neruda poem which adds new life to the already powerful lyrics, to 1942 for a fresh, bourbon-soaked spin on Fats Waller’s “Jitterbug Waltz,” and to 1916 for the Raymond Hubbell tune “Poor Butterfly,” – the latter of which is a part of La Tanya’s Sarah Vaughan tribute show.
Fromage is Atlanta-based pianist/ composer Randy Hoexter's second recording as a leader and Blue Canoe first. Randy’s vision was to chose a collection of cover songs, with the intent of re- inventing familiar material with a modern twist. However, instead of selecting deep and poetic material, Randy decided to take on the arguably greater challenge of "cheesy" pop songs. Once this concept was established, Randy interviewed many of his fellow musicians, did research, and dug into his own past to put this collection together.
Randy puts it like this:
"I did lots of research on surveys of the "worst songs" of all time, and certain titles kept popping up. These songs are part of the culture, especially for people my age. The goal here is not to make fun of these songs, but to take them seriously and do our best to make some modern art."
Once the material was selected, Randy went to work creating arrangements that both explored new harmonic and rhythmic areas but still honored the original themes and ideas in the songs. Many of the tunes were re-harmonized or given a new meter in order to take them in new directions. The timeless sound of Randy’s piano drives all the arrangements, and the majority of the charts feature a five- piece horn section with trumpet, saxophones, trombone and a signature bass clarinet. All of the instruments are brought forward at various times for solos and features.
These demanding, modern arrangements immediately brought to mind the talents of former Yellowjackets bassist Jimmy Haslip, who enthusiastically joined in. Legendary drummer Dave Weckl contributed three tracks as well. Randy also brought in a group of the Southeast's finest jazz players including saxophonist/multi woodwind virtuoso Sam Skelton, brilliant guitarist Trey Wright, Veteran session drummer Tom Knight and Cirque du Soleilpercussionist Kit Chatham.
Fromage, an elegant name for the everyday, sums up a recording that takes the listener to a new, and yet familiar place.
Randy Hoexter's Artist Page
Randy Hoexter's - "Fromage" Album Page