Music From Warner Bros. Cartoons, 1939-1957, More by STALLING PROJECT THE, CARL

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Media Type: CD
Artist: STALLING,CARL PROJECT
Title: MUSIC FROM WARNER BROS. CARTOO
Street Release Date: 09/21/1990
Domestic
Genre: TELEVISION SOUNDTRACK

Belly of The Sun, her fourth release for Blue Note Records, is the classic Cassandra Wilson journey, where borders and boundaries are sometimes pushed, sometimes expanded, sometimes eliminated but always discounted as limitations. Embracing Blues, African, Jazz, R&B, Brazilian and pop sensibilities, Belly of the Sun, is an invitation into the many sounds that have filtered through the musical landscape of the South. Featuring both original material and startling interpretations of material by other songwriters such as The Band, Bob Dylan and Robert Johnson, Belly of The Sun is full of the power of Cassandra's Mississippi roots and the roots of American music.

No Description Available.
Genre: Jazz Music
Media Format: Compact Disk
Rating:
Release Date: 2-NOV-1993

Cassandra Wilson has convincingly argued that all American popular music displays one fundamental aspect of the jazz tradition: a delight in taking songs—from the simplest to most profound—and recombining them into idiosyncratic form. That includes standards such as those she lolls into on this 1988 release—"Polka Dots and Moonbeams," "I Didn't Know What Time It Was," "My One and Only Love," and others. Underpinning these performances is an intriguing world-weariness, often of slightly sad (dare one say, postcoital) drowsiness. Wilson's sultry contralto augments that bold inflection, which impresses from the opening moments of the well-worn, usually more flirtatious "Shall We Dance." The straight-up support of Mulgrew Miller (piano), Lonnie Plaxico (bass), and Terri Lyne Carrington (drums) provides Wilson an unobtrusive foundation. —Peter Monaghan

On this early-1990s release, guitarist Jean-Paul Bourelly began a string of increasingly sympathetic producers. Production, and judicious instrumentation, are crucial to Cassandra Wilson's deep, arch aesthetic. Here, her smoky voice finds a casual, sensuous, tenor-sax richness amid Bourelly's electric-guitar riffing. Her singing suggests many inspirations. Betty Carter and Nina Simone, certainly, but Ella, Sarah, and Billy echo in her poise, personality, and stylishness. Dinah Washington and Carmen McRae come to mind as well. Also formative were Wilson's 1980s contributions to New York's M-Base collective. They involved exploration of all the African-American musics then afloat. M-Base also was committed to artistic self-definition. Here, 6 of the 10 selections are by Wilson, including "Don't Look Back," one of her several anthems of black resilience. —Peter Monaghan

"Glamoured" is a Gaelic word meaning to be whisked away, says vocalist and songwriter Cassandra Wilson, explaining the title of her new CD. "It's like being in a daydream, those split seconds when you're transfixed and your eyes don't move and you have to shake yourself out of it. This album captures the feeling of that reverie."

Indeed, Wilson sets such a mood with her trademark mix of first-rate originals and adventurous covers of other songwriters' works, this time picking material by Sting, Bob Dylan, Willie Nelson, Muddy Waters and Abbey Lincoln. Such eclectic tastes come naturally to Wilson, who began her musical career performing in and around her hometown of Jackson, Mississippi. "Down South, musicians have to be able to play in many different circumstances and in many contexts," she says. "They have to play jazz, they have to integrate the blues, and they have to know country. And the lines are kinda blurry sometimes, 'cause that's what everybody wants to hear."

For the recording of "Glamoured" Cassandra once again returned to her hometown of Jackson, Mississippi with a list of good songs and an open mind. "For some albums, I'll have a very clear idea of where I want it to go," she says, "but this time I had questions about what kinds of sounds to explore."

Her luscious alto has the depth and texture of a great tenor saxophonist, but Cassandra Wilson's defining asset is a postmodern song sense that enables her to surf through Son House, Neil Young, Johnny Mercer, Billie Holiday, and (gasp!) the Monkees in pursuit of strong songs that can provide that instrument with a canvas. Her second Blue Note album extends Wilson's seductive pilgrimage beyond the conventions of jazz repertoire and accompaniment, yet it's her instincts as a jazz singer that inform these brilliant readings. The settings again step away from traditional small group jazz (for starters, there's no piano) to evoke the emotional core of these songs. Anyone who can turn the Monkees' "Last Train to Clarksville" into a slow-burning erotic vignette deserves your attention. —Sam Sutherland