[Dixielandjazz] Fwd: SO THAT'S WHAT ALL THE FUSS WAS ABOUT

[Harry Callaghan]

When wanting to send this to the list, I accidentally clicked Damien's
address.

He is my general practitioner and will in a short while probably be
wondering why he
got a copy of this.

HC

---------- Forwarded message ----------
From: Harry Callaghan <meetmrcallaghan at gmail.com>
Date: Aug 7, 2010 8:05 AM
Subject: Re: [Dixielandjazz] SO THAT'S WHAT ALL THE FUSS WAS ABOUT
To: Daniel Barrett <danpbarrett at hotmail.com>
Cc: DamienSanderlin at gmail.com


Dan:

But a minor correction here. I indicated that before obtaining the album
referred to herein, I had not heard Rebecca, which is not the same as not
ever hearing of her.

Even down here in Houston, Texas I don't lead quite that sheltered a life.

I am most grateful to some of my fellow DJML subscribers who have opened my
ears to various recording artists within the last year.  While I had long
been a big fan of Oscar Peterson as a jazz pianist, it was someone here on
the list who made me aware that he had recorded an album of all vocals in
tribute to Nat Cole, which I of course immediately obtained.and enjoyed
tremendously.

Prompted by discussion here, I also sought out Kermit Ruffins and a coupla
others that don't come to mind right now.

Always eager to broaden my horizons.  I found your remarks rather
enlightening.......and you needn't call me Mr. Callaghan.

Harry






On 8/7/10, Daniel Barrett <danpbarrett at hotmail.com> wrote:
>
> Dear All,
>
> I'm continually surprised by who has or has not heard of whom out here in
> the jazz world.  For instance, I've been "out here" doing my
> thing--professionally--for about thirty-five years now. Been all over the
> world. Been in movies, TV, etc. Lots of recordings, both as a sideman and
> leader. Big deal! At just about every festival at which I play, I still get,
> "So, what do *you* do for a living?" I used to tell people that I repaired
> aquariums for rare tropical fish.  Now I say "I return hubcaps to their
> original shape after auto accidents." I then await their questions.
>
> "Yes," I answer,"with all the imports out there, it's become a specialized
> field.  You need special tooling, blah, blah..."
>
> I suppose that world is now so large and diffused that a fan of post-bop
> can't be expected to know all the trad players extant, and vice versa.
> Still, for a subscriber to the *DJML*--as is Mr. Callaghan--not to have
> ever heard of *Rebecca Kilgore *came as a genuine surprise.  I guess I'd
> figured all of the *DJML *subscribers would know her name (and her
> marvelous singing) by now. She's certainly had enough exposure, well before
> those nice recent reviews in the *New York Times *and *Wall Street Journal
> *.
>
> Please don't get the impression I'm picking on Mr. Callaghan. There are
> certainly great singers and players all over the world of whom I haven't
> heard!  Nonetheless, Rebecca has been "on the scene" for a number of years
> now; ever since she took over the vocal (and rhythm guitar) chair with *Chris
> Tyle's *little swing group, *Wholly Cats*. *Hal Smith *was the drummer in
> that Portland-based band. Hal and Becky formed a friendship that has lasted
> to this day; hence the *Rhythmakers* disc that Mr. Callahan recently
> discovered. (Becky is also featured on several other great recordings with
> Hal, including those with Hal's group the *Road Runners*, and other more *ad
> hoc* combinations).
>
> Now, the '30s-swing-styled *Wholly Cats *might not have been a group that
> ardent *mouldy fygges*  (I like that spelling) would have normally sought
> out. However, with regard to her "trad" experience, Becky's been a frequent
> guest with *Jim Cullum's Jazz Band*, featured on several (or many) of
> their Riverwalk broadcasts on *NPR*. Speaking of *NPR*, Rebecca has also
> been one of *Terry* *Gross's *favorite guests (usually with Becky's
> Portland pal, composer/pianist/vocalist *Dave Frishberg*) on Ms. Gross's *
> NPR* show, *Fresh Air*.
>
> The trad world in Great Britain knows about Rebecca.  We both had the honor
> of sitting in with the late *Humphrey Lyttleton *on one our many trips to
> England, and Becky has been a featured performer at the *Blackpool*, *
> Norwich* and *Upton-Upon-Severn *Festivals in England; and the *Nairn* and
> *Edinburgh* Festivals in Scotland. She's sung in Canada; Holland; Germany;
> Australia, and I don't know where else!
>
> Back in the States, Rebecca has brought her beautiful voice and musical
> sensibility to the *Atlanta Jazz Party *(where the focus is on more
> traditional jazz; www.atlantajazzparty.com), and the *Chautauqua Jazz
> Party* (which has a similar trad bias; she'll be there again this
> September).
>
> Other events where you might have seen and heard Rebecca include: the *San
> Diego Jazz Party (www.sdjp.org) *; the *West Texas "Collaboration" Jazz
> Party (www.wtjp.org)*; the *Roswell Jazz Festival* (she returns this
> October; *www.roswelljazzfestival.com*<http://www.roswelljazzfestival.com/>);
> and the *Sweet and Hot Festival *in Los Angeles, over Labor Day Weekend (*
> www.sweethot.org* <http://www.sweethot.org/>).
>
> Becky has several CDs available on *Arbors Records *(a label that first
> recorded the late Bechet-inspired soprano saxophonist/vocalist *Rick Fay*);
> *Jump Records*; *Blue* *Swing Fine Recordings*; and several other labels
> that feature trad-to-swing-styled jazz.
>
> She has sung everywhere, from *Fritzel's* fun, little joint on Bourbon
> Street to *Carnegie Hall*.  She's been a guest on a number of jazz cruises
> (including cruises that feature mostly traditional players, and bands like
> the *High Sierra Jazz Band*). Becky knows her way around many styles of
> jazz, but her genuine love of trad jazz is reflected in her repertoire,
> which includes many "trad-oriented" tunes like *Hard Hearted Hannah *and
> Jelly Roll Morton's *Sweet Substitute*. (As a personal aside, I must admit
> that Becky's recording of that Morton classic is only my second-favorite.
> However, I don't think Becky minds that Morton's own version remains my
> favorite).
>
> There's an old joke that most jazz musicians have heard. It's the riddle,
> "How do you know there's a girl singer at your door?" the answer is, "she
> forgot her key, and she doesn't know when to come in." Well, that joke is
> sadly based in truth. I've worked with far too many singers (men and women,
> actually) who've had to spend several long minutes with the pianist--on
> stage, in front of God and everybody--going through keys. You've heard their
> bit many times: "No, that's too low.. try it a little higher...no, now it's
> too *high*," and all that amateur stuff that makes you (and other audience
> members) want to go out and hear a rock band that knows what it's doing.
> That kind of display doesn't "help our cause." Come on, you singers! Learn
> what key you sing *Summer Time *in. And then, *please don't sing it*,
> unless you happen to be cast in *Porgy and Bess*. We've all heard enough
> of you sing *Summer Time *to last us 'til the next millennium. There are
> other seasons you can attack, you know: *Spring is Here; **Santa Claus
> Blues;  September in the Rain*. Lay off poor *Summer Time *for a while,
> won't you? (You too, all you Bechet imitators). (Off-point: the black and
> white film footage of the great opera singer *Marian Anderson *performing
> *Summer Time *is worth finding and seeing/hearing. Maybe it's on
> YouTube(?))
>
> Back to *La Kilgore*. She not only knows each and every key of each and
> every song she sings, but she even prepares her own lead sheets! (A "lead
> sheet"--as in, *lead *the band--is the abbreviated sheet music that shows
> the melody and chord changes for a particular song). For the serious artist,
> this involves *procuring* the original sheet music (always the definitive
> source); *transposing* the song into her key; and *extracting *it (the
> technical term for notating music onto paper; either by hand or using a
> computer program) for her accompanists to read.
>
> Rebecca is a fine guitarist, and this knowledge of chords and music theory
> allows her to prepare accurate lead sheets. (Over the years, I've even heard
> her--gently and without anger or malice--call out the chord changes of a
> song to particularly weak pianists she's been saddled with for this or that
> gig: "Em-brace me--(whispered: *C diminished*)--my sweet--(*D minor
> seventh*)--em-brace-a-ble you (uhh...*E half-diminished, A7, then* *D
> minor*)--Embrace me--(*B flat ninth*)--you ir-re-PLACE-a-ble you!..."
>
> Your average singer just can't do this, and this is why so many great
> musicians who know her often say "she's a great *MUSICIAN*" before they
> say "she's a great *SINGER*." Naturally, they think she's a great singer,
> but the title of "musician" trumps "singer," kind of like "scissors cut
> paper."
>
> Well, I've gone on a bit about this remarkable musician and person, only
> because it bothers me that the world at large knows who Lady Gaga is, but
> many don't yet know about *Rebecca Kilgore*. I know if this writing spurs
> you to invest in a CD (as did Mr. Callaghan), then once you hear her, you
> too will want to rectify this situation.
>
> I'm lucky enough to have recorded with her on a number of occasions (under
> her name; under *John Sheridan's *name; under my name; and for others as
> well), and I continue to perform with her in the *Rebecca Kilgore Quartet
> (**www.rebeccakilgore.com* <http://www.rebeccakilgore.com/>*)*; the larger
> band, *Blue Swing*; and in "pick-up" groups at various jazz festivals and
> parties. Lucky me!
>
> I'm always proud to be on stage with her, and every time I hear her I
> realize I'm working with--arguably--the best singer in the business today.
> There's no arguing she's my favorite, though, and that's pretty much been
> the case since I first heard her, a decade-and-a-half ago.
>
> So, please check her out...but only if you dig tasteful, swinging vocalists
> who sing perfectly in tune with intelligent, musical phrasing; a lovely
> sound; and their hearts on their sleeves. Otherwise, you might just want to
> pass.
>
> Dan Barrett;
> Proud member of the
> *Rebecca Kilgore Quartet*, and--
> like Mr. Callaghan--a Becky Kilgore fan.
> **
>
>
>
>
>
> > Date: Fri, 6 Aug 2010 13:49:14 -0500
> > From: meetmrcallaghan at gmail.com
> > Subject: [Dixielandjazz] SO THAT'S WHAT ALL THE FUSS WAS ABOUT
> > CC: tradjazz at list.okom.com; nvickers1 at cox.net;
> dixielandjazz at ml.islandnet.com
> > To: danpbarrett at hotmail.com
>
> >
> > I am speaking of the recent write-ups I've seen about Rebecca Kilgore.
> >
> > Not being familiar with her vocal talents, I managed to locate an
> > inexpensive CD by her online and it just arrived this morning.
> >
> > It is 'Countin' on Fats" (Jazzology JCD-299) on which she does 18 Fats
> > Waller compositions backed by Hal Smith's Rhythmakers, a 7-piece
> ensemble,
> > (8 counting Becky on guitar). It was recorded in San Diego in 1998 and
> the
> > band is equally adept at playing soft and mellow, swinging out, or
> anything
> > in between depending on what the number calls for.
> >
> > I can honestly say that I was so impressed with her vocalizing, that I
> can
> > even forgive her being a blonde, which for me is really "biting the
> bullet".
> >
> > Tides
> > HC
> >
> > --
> > Some men see things as they are and say why....I dream things that never
> > were and say why not -
> > -George Bernard Shaw
> > _______________________________________________
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> >
> >
> >
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> > Dixielandjazz at ml.islandnet.com
>
>



-- 
Some men see things as they are and say why....I dream things that never
were and say why not            -
                        -George Bernard Shaw


-- 
Some men see things as they are and say why....I dream things that never
were and say why not            -
                        -George Bernard Shaw