O que é Jazz ? Não é forma de expressão musical, muito menos tipo de música; mas sim a forma livre de interpretar qualquer tipo de música.
Não curti as grandes divas, ouvi todas mas fora do auge da carreira.
Estamos sem nenhuma.
Mas estamos no século 21, e temos que ouvir outras formas de cantoras/cantor, neste sentido, Tierney Sutton acompanhada sempre do Christian Jacob Trio, é minha DIVA !!!!
Qual outra poderia lançar oito CD's no mais alto nível do JAZZ ?
Não conheço CD fraco da DIVA TIERNEY SUTTON !!! VIVA O JAZZ !!!!!!!!
CJ=Christian Jacob/ TH=Trey Henry/ RB=Ray Brinker
Tierney Sutton Band
Desire
by Ken Dryden
Tierney Sutton has evolved into one of the most striking jazz singers of the early 21st century, simply because of her gift for finding new approaches to familiar songs without abandoning their essence. With her longtime band (pianist CJ, drummer RB, and either TH or Kevin Axt on bass), Sutton has crafted unusual arrangements of nine standards that many vocalists seem to perform on autopilot without giving them much thought. She turns "It's Only a Paper Moon" into a mystical work by interweaving an excerpt of a Bahá'í prayer in a tense arrangement with Jacob's adventurous altered chords and Brinker's brushwork complementing her enchanting vocal. The uptempo backing to her explosive interpretation of "My Heart Belongs" gives it a decidedly new twist. Likewise, Sutton puts her own touch on perennial vamp favorites like "Whatever Lola Wants" and "Fever" that make a substantial departure from well-known recordings. She's at her best with a pair of songs by Dave Frishberg, including the bittersweet "Long Daddy Green" (co-written by Blossom Dearie) and the touching ballad "Heart's Desire" (with music by Alan Broadbent), two gems that have been infrequently recorded.
Tierney Sutton Band
On The Other Side
by Jeff Tamarkin
Few jazz vocalists set out to deconstruct a standard as thoroughly as Tierney Sutton does. Her past albums have hovered around a theme but none as devotedly as On the Other Side, which takes the simple concept of happiness and turns it on its ear. Sutton could have approached classics like "Happy Talk," "Make Someone Happy," "Happy Days Are Here Again," and "Get Happy" as most singers would, finding their sweet spots and putting on a big smile as she sang them with ebullience. But these are some of the saddest renditions of happy tunes you'll ever hear, and Sutton's reinventions are such a success because she is so believably bummed. Often turning to minor keys to shift the mood downward, she takes the giddy and makes it melancholy. Rodgers & Hart's "Glad to Be Unhappy," despite its title, is quite often sung as if that's a welcomed state; when Sutton delivers a line such as "It's a pleasure to be sad," she makes certain that she's not appearing ironic. In Jimmie Davis' "You Are My Sunshine," the listener is right to ask whether the singer really means "You'll never know how much I love you," because the loneliness in her voice is so palpable. As always, Sutton's band is entirely sympathetic, their unfussy arrangements providing Sutton with the tonal foundation her unorthodox interpretations require. Her use of two bassists on some tracks doesn't weigh the music down but instead reinforces the darkness Sutton so convincingly conveys. And pianist Christian Jacob, especially, is a major presence — Sutton's sole accompanist on the album-closing "Smile" (the Chaplin's fave) is bluesy and mournful, the perfect complement to Sutton's unsmiling take. What's most interesting about On the Other Side, though, is that ultimately it doesn't feel like a downer. Sutton's voice is such a flexible, captivating instrument that it's a joy to follow, even as she's doing everything in her power to spread a frown. This CD was nominated for a Grammy award in 2007 for Best Jazz Vocal Album.
Tierney Sutton
I'm With The Band
by Jonathan Widran
Since popping into our collective jazz consciousness as a semifinalist in the Thelonious Monk Jazz Vocal Competition in 1998 and signing with Telarc Jazz a few years later, the versatile stylist Sutton Tierney has carved a unique career around theme-centered recordings — most notably with Unsung Heroes (featuring sung renditions of songs normally done as instrumentals) and Blue in Green(a tribute record to Bill Evans). Her creativity with tempo, song selection, and witty modulations is at full-throttle on her fifth disc for the label, I'm with the Band, an hour-long set recorded live at Birdland in March 2005. Though she's clearly the star and her ensemble is always in her service, the album title and cover photo beautifully illustrate the mutual love she and her brilliant bandmates have shared for ten years. Each tune has space for Tierney to shine and improvise over simple harmonic and rhythmic support before she lets them break free. On the opening track, "Softly, As in a Morning Sunrise," she swings via words and scat over pianist CJ's alternately dark and light chordings, and drummer RB's brisk brushes; then Jacob rolls with a feisty solo as Brinker and bassists Kevin Axt and TH groove behind him. "Let's Face the Music and Dance" features their very gentle support behind her restrained and thoughtful reflections, while Tierney and her rhythm section render "'S Wonderful" with a wistful wink. Tierney has her moments of gentle and poignant romance ("If I Loved You"), but is clearly having the most fun when she's moving at a faster tempo, alternating words and scat so effortlessly and seamlessly that you don't realize she's shifting back and forth. This disc is live jazz at its best and is destined to be a classic.
Tierney Sutton
Dancing In The Dark
by Chris Nickson
This isn't Sutton's tribute to Sinatra, although all the material here was recorded and made famous by him. Instead, it's her working through the nooks and crannies of his songbook, and bringing things out and putting her own particular polish on them. It could be something with strings, such as "What'll I Do?" or the intimacy of "I'll Be Around," which is as much a plea as a reassurance and resignation. Her version of "I Think of You," whose melody comes originally from Rachmaninov, is gloriously subtle, the emotion as softly drawn out as the syllables. "I Could Have Told You" offers comfort and a shoulder to cry on, a gentle embrace that's almost a whisper in Sutton's hands. The music here is at its best when the orchestra keeps away — they simply become overkill, the too-sweet icing on an already-delicious cake. Perhaps her biggest test, though, comes at the end of the album, tackling "Fly Me to the Moon," followed by a medley of "Last Dance" and "Dancing in the Dark," taking on some of Sinatra's most famous pieces. While on the former Sutton doesn't always dig to the absolute heart of the song, the arrangement is stunning, with some outstanding piano from CJ that frees the songs from its '50s shackles. Sutton does sparkle on the other piece, however, especially "Dancing in the Dark," where the orchestral contributions are kept to a minimum, and the tracks swings in a minimalist fashion, Sutton's voice imbued with the magic of the night. The album might have been inspired by Sinatra, but in her own way, Sutton has gone beyond her inspiration.
Tierney Sutton
Something Cool
by Paula Edelstein
Tierney Sutton warms the soul with Something Cool. This offering, her third as a leader for the Telarc label, finds the vocalist using an array of vocal techniques, jazz styles, and formats on 14 great songs by several Great American Songbook composers, Bobby Troup, and the masterful Duke. Sutton is accompanied by her longtime trio of CJ on piano, TH on bass, and RB on drums. The lovely vocalist/educator charms her listeners with elongated phrasings, a strong rhythmic sense, and amazing improvisational abilities on three Lerner & Loewe themes from the Broadway musical My Fair Lady. In addition to the outstanding vocal treatments she offers her listeners on these classic songs, Sutton scats and swings through an amazing "Ding, Dong! The Witch Is Dead." This song not only shows her versatility with tempo changes and range, but also displays her unique talent for selecting songs commonly associated with another musical style and improvising them in a jazz context. She garnered international critical acclaim for this technique on her 1999 release titled Unsung Heroes. Additional highlights include Howard Dietz's "Alone Together," on which she duets with bassist TH, and her exceptional rendition of "The Best Is Yet to Come," which features her cool jazz vocal skills. Tierney Sutton is at her finest on this program and offers an impeccable selection of songs that showcase her distinct musical personality and quality sound.
Tierney Sutton
Blue in Green
by Ken Dryden
There have been a number of tributes to Bill Evans since the pianist's death in 1980, including a few by singers. But this CD by Tierney Sutton (only her third as a leader) is not only wide-ranging in its scope, as it draws songs from throughout his career, but the often innovative arrangements bring a freshness to the music. Sutton doesn't resort to loud theatrics but swings hard when necessary while focusing on the melody, and also gives her supporting trio (pianist CJ, bassist TH, and drummer RB) space to play. Evans' songs include a haunting "Blue in Green" (a modal gem credited to Miles but claimed by the pianist as his work) with a touching lyric by M. d'Ambrosio, the mournful "Turn Out the Stars," a magical deliberate take of "Very Early," and an enticing medley of two of Evans' ballads written in honor of two young ladies, "Waltz for Debby" (for his niece) and "Tiffany" (for drummer Joe LaBarbera's infant daughter, who later composed the lyrics to this song as a teenager; Joe takes over the drums on this one song). The brisk "Autumn Leaves" is given a dramatic facelift with some fine scatting by Sutton and a wonderful reworking of the chord structure, and the calypso-flavored introduction to "Someday My Prince Will Come" is a high point, too. Ken Wild takes over on bass for the enchanting piano-less arrangement of "Sometime Ago," playing an ostinato pattern and supplying a soft backing scat vocal on this catchy chart. This outstanding release by Tierney Sutton should be considered an essential acquisition by fans of jazz singers and music associated with or written by Bill.
Tierney Sutton
Unsung Heroes
by Rick Anderson
Tierney Sutton's light, sweet voice is not yet as familiar to most jazz fans as those of Ella or Sarah, but on the evidence of her first two albums, it deserves to be. Her flexibility and control are world-class, and she has a sense of taste that has never failed her on record; although her technique is superb, she never seems to be showing off. Unsung Heroes doesn't quite achieve the magic of her debut (Introducing Tierney Sutton, on A Records), but it's never less than entrancing: the program consists of jazz standards that are more commonly performed as instrumentals (hence the album's title), and her interpretations of "Indiana/Donna Lee" and "When Lights Are Low" are effortlessly charming; her take on the Dizzy's classic "Con Alma," with its slightly eerie a capella intro, is especially strong. Sutton is supported primarily by her longtime quartet, pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker. Highly recommended.
Tierney Sutton
Introducing Tierney Sutton
by Rick Anderson
Tierney Sutton has the kind of voice that you can take for granted. After just a couple of tunes, you know you can relax — she's not going to flub a note, she's not going to screech trying to reach beyond her range, she's not going to show off. That frees you up to sit back, close your eyes, and alternate between wonder at her pure technique and rapt enjoyment of her artistry. Sutton's debut album is a program of standards (not to say potboilers): "The Song Is You," "My Heart Stood Still," "It Never Entered My Mind," like that. But even if you've heard all these songs a hundred times before, you'll still love this album. Not because she brings anything particularly surprising or revelatory to this repertoire, but because she sheds such a warm, sweet light on the songs that it's a pleasure to hear them again. Sometimes she surprises, as on the voice/bass duet arrangements of "In Love in Vain" and "My Heart Stood Still," which are two of this album's many highlights, or with startling scat excursions where you don't necessarily expect them. Other times she evokes Ella Fitzgerald at her peak, as on her rendition of "Caravan." But she never disappoints.
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