Through this blog, in the Fall of last year I made the acquaintance of a certain Lincoln Briney of Napa, California. Initially, we had a few email back-and-forths about group vocal jazz singing---his passion. In time, Lincoln revealed to me that he was even a bit of a singer himself. But it soon became clear to me that not only was he not just a mere singer but was, indeed, a very fine one. This was made obvious via a work in progress CD he sent to me, some tracks of which had been in circulation of a demo disc he had put together. But most were brand new and had not been heard by anyone besides Lincoln and the players on the date. I was jazzed by what I heard. So much so that I was even able to convince---not a hard task at all---Yasuo Sangu, the head of SSJ Records in Japan, to issue Lincoln's official debut CD, Foreign Affair. The release date is August 23rd. More information about it---in Japanese, natch---is just now available at SSJ's site.
Master jazz guitarist Bill Frisell appears on two cuts, the title track and Chorado. It's doubtful that there has ever been another CD that covers such a wide variety of repertoire: everything from Matt Dennis to Ron Sexsmith, with stops in between for the likes of Jobim, Sade, Stevie Wonder and much more. That rarity of rarities and miracle of miracles: a 100 % commercial, approachable, and listenable recording but without so much as a scintilla of artistic compromise!
Because I was instrumental in getting the CD to market, I have been accorded the honor of having my name placed on the CD as "associate producer." But basically I am just a fan and as such have listened to Foreign Affair many many times. And I never tire of it, or cease to be amazed at how much I continue to discover upon repeated auditings. The players on the CD consist of a who's who of the burgeoning Seattle music scene. I feel that I am being completely objective when I say that this is a truly wonderful and amazing production. Hard for me to pick a favorite track, but here's a generous mp3 sampling of one of them, Lincoln's version of Sade's "Love is Stronger Than Pride."
Saturday, August 05, 2006
Friday, August 04, 2006
Disc o' the Day
What follows is the text of my friend Charles Cochran's new page at CDBaby :
Here is Fred Astaire on the subject of singer-pianist Charles Cochran in 1963:
“I think one of the main reasons for Charlie Cochran's success is his devotion to his art. It seems that he takes hold of a song as if he owns it... its story and lyrics as well as its musical values. Charlie is instinctively a young man of good taste and good manners. He works because he enjoys it. He really loves to sing and in order to do so to his personal satisfaction, he travels extensively, appearing in night clubs at various ends of this country and abroad. He has acquired a large following since his entry into the professional ranks about 5 years ago.
For some time now, I have admired the Cochran style and was extremely pleased when we were able to sign him for AVA Records.
Cochran is particular and decisive about his choice of song material. He has chosen most of the numbers in this album because he can hardly resist singing them. I hope people will buy it for the same reason.”
And now flash forward to 2005 and Rex Reed in the New York Observer:
“With so much angst, the best anti-depressant is music. Charles Cochran, an esteemed pianist and saloon singer who used to be a staple on the Manhattan club scene when the word “cabaret” only existed in the basements of Berlin, is back in circulation at Danny’s on West 46th Street, where he is holding court every Sunday and Monday night through May. He takes you back to the sublimely balmy midnight hours when chic song stylists peppered and salted intimate watering troughs all over town, and taxis didn’t cost half the rent to get you there. Retirement in Palm Beach hasn’t cost him any I.Q. points. His songs are stylish and sophisticated, and so is he.
Up-tempo tunes are usually fillers inserted by performers who fear their audiences will grow drowsy from too many ballads. Mr. Cochran doesn’t waste your time: His love songs are treasures . . .When he picks up the pace, it’s with obscure gems like Irving Berlin’s “Falling Out of Love Can Be Fun” and Cy Coleman’s “On the Other Side of the Tracks.” The stories he tells are the reminiscences of days when you could rent a penthouse with a grand piano for $350 a month. The names he drops are Laurette Taylor, Mabel Mercer and Hedy Lamarr. He brings tears to the most jaded eyes. He makes you want to live the lyrics. . . Put Charles Cochran on your calendar, and learn something.”
In between, in 1983, here’s what the great Jeri Southern had to say about Cochran:
“Charles Cochran sings with a purity and straightforwardness that are rarely heard these days, always paying attention to the lyric and observing its most subtle meanings and nuances.
His impeccable musicianship is clearly apparent in his intonation, phrasing, time, and control. The voice is gorgeous (and he uses it beautifully), but he never sacrifices the lyrical interpretation to make us aware of it---a temptation to any singer of lesser taste and discernment.
In short, I think Charles is a great artist and best of all, I guess, is that every time I hear him sing I feel that it’s just for me---I think you’ll feel that way too.”
This is Cochran’s sixth album in as many decades. It just might be his best!
“. . .a first-rate repertoire of out-of-the way show tunes, intimate jazz, and ballads that only a born-and-bred New York song
Here is Fred Astaire on the subject of singer-pianist Charles Cochran in 1963:
“I think one of the main reasons for Charlie Cochran's success is his devotion to his art. It seems that he takes hold of a song as if he owns it... its story and lyrics as well as its musical values. Charlie is instinctively a young man of good taste and good manners. He works because he enjoys it. He really loves to sing and in order to do so to his personal satisfaction, he travels extensively, appearing in night clubs at various ends of this country and abroad. He has acquired a large following since his entry into the professional ranks about 5 years ago.
For some time now, I have admired the Cochran style and was extremely pleased when we were able to sign him for AVA Records.
Cochran is particular and decisive about his choice of song material. He has chosen most of the numbers in this album because he can hardly resist singing them. I hope people will buy it for the same reason.”
And now flash forward to 2005 and Rex Reed in the New York Observer:
“With so much angst, the best anti-depressant is music. Charles Cochran, an esteemed pianist and saloon singer who used to be a staple on the Manhattan club scene when the word “cabaret” only existed in the basements of Berlin, is back in circulation at Danny’s on West 46th Street, where he is holding court every Sunday and Monday night through May. He takes you back to the sublimely balmy midnight hours when chic song stylists peppered and salted intimate watering troughs all over town, and taxis didn’t cost half the rent to get you there. Retirement in Palm Beach hasn’t cost him any I.Q. points. His songs are stylish and sophisticated, and so is he.
Up-tempo tunes are usually fillers inserted by performers who fear their audiences will grow drowsy from too many ballads. Mr. Cochran doesn’t waste your time: His love songs are treasures . . .When he picks up the pace, it’s with obscure gems like Irving Berlin’s “Falling Out of Love Can Be Fun” and Cy Coleman’s “On the Other Side of the Tracks.” The stories he tells are the reminiscences of days when you could rent a penthouse with a grand piano for $350 a month. The names he drops are Laurette Taylor, Mabel Mercer and Hedy Lamarr. He brings tears to the most jaded eyes. He makes you want to live the lyrics. . . Put Charles Cochran on your calendar, and learn something.”
In between, in 1983, here’s what the great Jeri Southern had to say about Cochran:
“Charles Cochran sings with a purity and straightforwardness that are rarely heard these days, always paying attention to the lyric and observing its most subtle meanings and nuances.
His impeccable musicianship is clearly apparent in his intonation, phrasing, time, and control. The voice is gorgeous (and he uses it beautifully), but he never sacrifices the lyrical interpretation to make us aware of it---a temptation to any singer of lesser taste and discernment.
In short, I think Charles is a great artist and best of all, I guess, is that every time I hear him sing I feel that it’s just for me---I think you’ll feel that way too.”
This is Cochran’s sixth album in as many decades. It just might be his best!
“. . .a first-rate repertoire of out-of-the way show tunes, intimate jazz, and ballads that only a born-and-bred New York song
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