ALL ABOUT JAZZ - vol. 6, no. 3 by Peter Sanchez
I am not sure why Shea Breaux Wells has been such a well-kept secret, but with her “A Blind Date” release, the cat’s out of the bag; this vocalist can not only carry a tune, but do so in such a compelling manner, it is impossible to ignore. Employing such amazing veteran hands like George Cables, Billy Hart, Cecil McBee and Craig Handy, who is sucker-punchingly good, Wells struts through 10 familiars including a brisk version of Hoagy Carmichael’s “Baltimore Oriole,” Jobim’s warhorse “Corcovado,” Irving Berlin’s wonderful “Blue Skies,” Ellington’s “Caravan,” and Benny Golson’s remarkable “I Remember Clifford.” Handy really burns throughout Wells’ own “Dark Matters.” But Wells is the focus, and rightfully so. Her elegant treatment of “Oh Yes, I Remember Clifford” is silky smooth. Cables introduces Miles Davis’ “All Blues,” followed by Handy’s flute and Wells’ vocalese presentation. Wells has an amazing understanding of Miles’ melody. Dizzy Gillespie’s “Night in Tunisia” is also an eye-opener. Upbeat and dramatic, “Night in Tunisia” features Wells’ flawless vocals and Handy’s heavyweight tenor trading off, both making room for David Weiss’ solid trumpet solo. The bossa “Corcovado” with a flute intro from Handy is sung perfectly. Wells naturally sways throughout the Jobim classic, breathing new life into it along the way. Shea Breaux Wells is someone to actively pursue in live performance, because if her album is any indication, she is a blind date worth investigating. Brava!
I am not sure why Shea Breaux Wells has been such a well-kept secret, but with her “A Blind Date” release, the cat’s out of the bag; this vocalist can not only carry a tune, but do so in such a compelling manner, it is impossible to ignore. Employing such amazing veteran hands like George Cables, Billy Hart, Cecil McBee and Craig Handy, who is sucker-punchingly good, Wells struts through 10 familiars including a brisk version of Hoagy Carmichael’s “Baltimore Oriole,” Jobim’s warhorse “Corcovado,” Irving Berlin’s wonderful “Blue Skies,” Ellington’s “Caravan,” and Benny Golson’s remarkable “I Remember Clifford.” Handy really burns throughout Wells’ own “Dark Matters.” But Wells is the focus, and rightfully so. Her elegant treatment of “Oh Yes, I Remember Clifford” is silky smooth. Cables introduces Miles Davis’ “All Blues,” followed by Handy’s flute and Wells’ vocalese presentation. Wells has an amazing understanding of Miles’ melody. Dizzy Gillespie’s “Night in Tunisia” is also an eye-opener. Upbeat and dramatic, “Night in Tunisia” features Wells’ flawless vocals and Handy’s heavyweight tenor trading off, both making room for David Weiss’ solid trumpet solo. The bossa “Corcovado” with a flute intro from Handy is sung perfectly. Wells naturally sways throughout the Jobim classic, breathing new life into it along the way. Shea Breaux Wells is someone to actively pursue in live performance, because if her album is any indication, she is a blind date worth investigating. Brava!
