Barbara
Hendricks first walked into the spotlight – at least as far
as the record-buying public is concerned – back in the late
1970s. It was when she sang Clara on Lorin Maazel’s superb Grammy-awarded
Porgy and Bess. Her first solo album was also a Gershwin
programme, published by Philips in 1981, where she was joined
by the stunning Labecque sisters. I bought the LP and liked
it a lot, appreciating both the hefty piano playing and the
youthful freshness and warmth of Ms Hendricks’ singing. She
reminded me a little of Leontyne Price. Though Ms Price had
a larger voice the basic qualities were not dissimilar.
Several
of the songs she returned to almost twenty years later, when
CD 2 of the present double CD was set down. By a mishap – the
two discs have the labels mixed up on my review copy – I played
CD 2 first and many of Ms Hendricks’ qualities are still there:
her characteristic vibrato, her warmth and sincerity but also
a certain sameness, which I have pointed out before. There is
too little variety of tone and hearing her through a well-filled
CD can be too much of a good thing.
Generally
speaking it is the up-tempo numbers that come off best – surprising
perhaps when a classically schooled singer lets her hair down.
But for Barbara Hendricks rhythm is a natural element and these
titles also give three good jazz musicians scope for some swinging
solos. Fascinating Rhythm and I got rhythm are
my favourites.
The
second half of the disc is devoted to an extended medley from
Porgy and Bess. Those who know the original music – as
recorded by Maazel (Decca) and Simon Rattle (EMI) may feel disorientated.
However this is music that has been performed, ever since the
1930s, by all manner of musicians in all kinds of styles, so
one shouldn’t be surprised. This disc is not for the
die-hard opera freak. It should appeal to the many listeners
who like a classy voice with a jazzy backing. The individual
numbers are linked by more or less elaborated interludes by
the trio. They also offer some purely instrumental numbers,
those sung by male characters in the opera. Porgy’s I got
plenty o’ nuttin’ is one of the highlights of the disc,
which is perhaps rather unfair towards Barbara Hendricks. There
is however an earthiness about their playing that feels so right.
There’s a boat that’s leaving soon for New York, Sporting
Life’s song in the last act when he entices Bess to follow him
to the Big Apple, is also a trio number. Hendricks sings his
other song It ain’t necessarily so with a certain blues
feeling but I still miss the original Sporting Life, John W
Bubbles, who recorded it memorably on Skitch Henderson’s award-winning
highlights disc with Leontyne Price and William Warfield. In
a couple of songs an un-credited tenor sax is heard and the
Guildhall Strings lend further atmosphere to the medley. In
fact there is plethora of fine musicianship on display from
all hands.
Barbara
Hendricks surely feels more at home in Ellington. It may be
an illusion but she sounds more relaxed and also slightly fresher
of voice. I also think that she is inspired by the presence
of the café guests and their response. Monty Alexander is at
the piano but there’s the same rhythm section. It’s a well conceived
programme with a lot of nice surprises. Alexander has a long
piano solo in Brown Skin Gal in the Calico Gown. Sophisticated
Lady is beautifully sung. In Take the ‘A’ Train we
are treated to some scat singing. Come Sunday opens with
Ira Coleman’s double bass played con arco and Caravan
has a fascinating oriental atmosphere. Hendricks also gives
us a beautiful rendering of the eternal favourites Creole
Love Call. For me been Ellington’s own first recording with
Adelaide Hall takes pride of place ever since I heard it while
listening to Voice of America’s Jazz Hour on shortwave in my
youth. Ms Hall’s instrumental growling singing is unique and
Ms Hendricks wisely refrains from imitation, taking it in her
own way.
With
2˝ hours of jazz standards and evergreens well performed, this
double CD will offer many listening pleasures if you accept
Hendricks’ somewhat monochrome tone. Don’t expect transcendental
interpretations ŕ la Billie Holiday or virtuoso improvisations
of the Ella Fitzgerald kind. On the other hand you can’t have
Dom Perignon 1996 every time you hanker for something
sparkling.
Göran
Forsling
Barbara Hendricks
(soprano) 
