专辑简介

Carla White专辑介绍：by Dave NathanIn Mexico documents a live performance by Carla White and the Roberto Aymes Trio at the Fourth Cultural Festival in Morelos, Mexico in October of 1994. It is one of those surprise-filled sessions where all of the surprises are pleasant. One of the more agreeable ones is "Bye Bye Blackbird," a seven-minute plus variation on the theme in collaboration with Roberto Aymes and his bass. Hanging in there with just a bass accompaniment for such a long time is not easy, but these two pull it off with élan. White plays games with the lyrics; she shows her versatility and virtuosity by running the gamut of deliveries, from little girl to sultry, with meaningful scatting thrown in as exclamation marks. Through it all, she and Aymes never lose contact, creating a tour de force performance. White's own "But I Was Wrong" is a vehicle to showcase her not-so-insignificant wordless vocalizing skills. On recent albums, White had been moving away from a heavy emphasis on scatting, instead paying more attention to the lyrics. On this performance, however, the technique has regained its former place in White's vocal arsenal. Perhaps that's because this is a live performance where scatting tends to engage the audience; judging from the response, it clearly worked. Particularly intriguing is her use of this approach on "Bloomdido" where she vocalizes Charlie Parker's alto solo. Luis Zepeda's piano is taken through a set of strenuous calisthenics, which elicits a considerable response from the audience. Aymes' bass jumps in to recall a few bars from "Salt Peanuts," with Fernando Toussaint claiming the rest before White re-enters. The trio also gets a lot of work on "Out of This World" with Zepeda's Barry Harris-like piano and Aymes' uncluttered basslines featured prominently. White's interpretation of "I Don't Stand a Ghost of a Chance" reveals a debt to the inestimable Lee Wiley as she delivers this tune in a husky, laid-back fashion. White's ability to intelligently cope with lyrics is apparent on a slow tempo "Darn That Dream" with Aymes' bass once more providing solid but unobtrusive underpinning. On the album's coda cut, "I Ain't Got Nothin' but the Blues," White takes some time to explain why she is singing a blues tune even though things are going quite well for her these days. She tells the audience that the song reminds her of when things were not always so good. Regardless, everyone has a right to sing the blues, and sing them she does, with Zepeda's piano providing the musical blahs to help create the proper mood. This album is another fine performance by the inestimable White.