Ann Dyer & No Good Time Fairies w/Peter Apfelbaum, Hafez Modirzadeh: Revolver A New Spin

Wokalistyka jazzowa
premiera polska: 2000-08-01
kontynent: Ameryka Północna
kraj: USA
opakowanie: Jewelcaseowe etui
opis:
Down Beat, 04/2000 * * * * 1/2

Audio 04/2001 Muzyka: * * * 1/2, Realizacja: * * * *

Przekrój 25/02/2001 * * * *
'...Wokalistka podążająca śladem Patrycii Barber...'Revolver' uchodzi za jedno z największych osiągnięć Beatlesów, a nagrywanie po raz drugi tej samej płyty wydaje się przedsięwzięciem mocno wątpliwym. Z Revolverem' Ann Dyer jest inaczej. Pierwszy raz od dawna mamy do czynienia z twórczym podejściem do piosenki. Beatlesi w wersji jazzowo - folkowej wypadają znakomicie. Wystarczy posłuchać kakofonicznego 'Tomorrow never knows' czy psychodeliczno - sennej 'Eleanor Rigby'. Ortodoksi b będą narzekać, że piosenki Beatlesów same w sobie są genialne i nie potrzebują nowych wersji, ale 'Revolver' w wykonaniu Ann Dyer nie jest płytą z coverami, lecz nowym duchem w ciele Beatlesów...'

Machina 04/2001 * * * *
'...Zawartość tej płyty stanowi tuzin interpretacji piosenek The Beatles. Ann Dyer śpiewa je mocnym i lekko przyciemnionym głosem uwypuklając pewne fragmenty, a inne traktując jakby z nonszalancją. Akompaniuje jej grupa muzyków No Good Time Fairies, prowadzone przez saksofonistę Petera Apfelbauma, znanego z ciekawych etno-jazz-rockowych projektów. Skrzypce, akordeon, gitara, bas, perkusja tworzą podkład pozornie łagodny, pełen zaskakujących smaczków i świetnie komponujący się z linią wokalną...'

All About Jazz:
Revolver remains The Beatles’ definitive artistic moment, though the nostalgia-spiked histories tend to opt for its extravagant Summer of Love followup. But on no other Beatles album was there such a mix of experimentation and unsentimental songcraft, with economical but heady arrangements that deserve the description “definitive”.
Avoiding the nostalgic waxed glow of many jazz vocal interprations, Bay Area iconoclast Ann Dyer honed in on Revolver ’s Hindustani periphery and distant-but-unaffected air for her own “new spin.” With a string-and-percussion-heavy expanded edition of her band No Good Time Fairies, she deconstructs the original arrangements in such a way that each word takes on luminous, concretized properties, particularly on totally-reconstructed versions of “Eleanor Rigby” and “I Want to Tell You”, into which Dyer interpolates a descending line that splits the difference between bebop run and nursery rhyme.

The vocalist spent some amount of time studying with a guru classical North Indian vocal techniques, which she uses coloristically to entrancing effect. “Tomorrow Never Knows” is, not surprisingly, recast in a style that owes much to its original Indian vibe, but “She Said She Said” may be the best example of Dyer’s newly-acquired techniques, as her vocal on the track abruptly shifts from an accusatory and dramatic morphine jazz style to a darkly-languorous exploration of Hindustani melismas. The band as a unit is fully her equal, responding to each other and to her willful metamorphoses with sweetness, shading, or slashing anger, always with a delicate, tense poignancy, bringing out sounds and meanings from the original compositions that are often unexpected.
By Derrick A. Smith

All Music Guide:
All too often, jazz singers have suffered from the delusion that worthwhile popular music died with George Gershwin, Cole Porter, or Irving Berlin. Ignoring rock and R&B, such myopic artists refuse to see the value of Stevie Wonder, the Beatles, Marvin Gaye, Billy Joel, Gamble & Huff, Tom Waits, Sting, and countless others. The result has been a lot of very predictable jazz vocal dates. In the 1980s and 1990s, the last thing jazz needed was yet another faceless young Sarah Vaughan clone providing yet another knee-jerk version of "Our Love Is Here to Stay." Jazz also had its share of adventurous singers during those decades, however, one of whom was Ann Dyer. This superb CD finds the Bay Area vocalist interpreting the Beatles' 1966 album Revolver, and make no mistake: classics like "Good Day, Sunshine," "I'm Only Sleeping," "Rain," and "Taxman" get serious makeovers. Blending rock with avant-garde jazz, Dyer favors an approach that is abstract, quirky, and off-center yet highly musical. "Eleanor Rigby" becomes moody, tango-influenced jazz-noir, while "Tomorrow Never Knows" is transformed into a hypnotic, Middle Eastern-influenced meditation. Some jazz purists will find Dyer's love of the Lennon/McCartney songbook objectionable, but truth be told, Dyer interpreting the Beatles in 1999 is every bit as logical as Ella Fitzgerald or Sarah Vaughan interpreting Cole Porter in the 1940s and 1950s.The title Revolver: A New Spin says it well; Dyer definitely puts a new and unorthodox spin on Revolver, and she does so with amazing results.
by Alex Henderson

muzycy:
Ann Dyer - vocals
Peter Apfelbaum - tenor sax
Hafez Modirzadeh - karna on track 7 and tenor sax on track 9
Carla Kihlstedt - violin
Jeff Buenz - electric and acoustic guitars
John Shifflett - electric and acoustic bass
Jason Lewis - trap drums and tabla
Rob Vlack E. Blake Davis - additional guitars on track 5

utwory:
1. She Said She Said
2. Good Day Sunshine
3. Eleanor Rigby
4. For No ONe
5. Taxman
6. I'm Only Sleeping
7. Tomorrow Never Knows
8. Rain
9. Want To Tell You
10. And Your Bird Can Sing

wydano: 2000-07
nagrano: 2000
more info: www.premonitionrecords.com
more info2: www.anndyer.com
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