Jazz Weekly, George W. Harris
Meanwhile, California centered Shea Breaux Wells considers herself a part of a band, as she gives lots of freedom and space to the all star post bop quintet of George Cables (p) Cecil McBee (b), Billy Hart (dr), Craig Handy (sax/flute) and David Weiss (tr). This is a formidable band, and play assertively, giving Wells a tough horse to ride, but ride she does, and like Annie Oakley! Her husky and earthy voice delivers a rich reading of “Baltimore Oriole”, with Wells reaching deep into the soil for the root of the piece. She is completely unintimidated by the aggressive support during “Night In Tunisia”, and delivers a muscular and physical tour de force. She’s also able to evoke gentleness, as on the contemplative “I Remember Clifford” and “Bye Bye Blackbird.” I missed her when she was in town earlier this year; I won’t make that same mistake twice.
Meanwhile, California centered Shea Breaux Wells considers herself a part of a band, as she gives lots of freedom and space to the all star post bop quintet of George Cables (p) Cecil McBee (b), Billy Hart (dr), Craig Handy (sax/flute) and David Weiss (tr). This is a formidable band, and play assertively, giving Wells a tough horse to ride, but ride she does, and like Annie Oakley! Her husky and earthy voice delivers a rich reading of “Baltimore Oriole”, with Wells reaching deep into the soil for the root of the piece. She is completely unintimidated by the aggressive support during “Night In Tunisia”, and delivers a muscular and physical tour de force. She’s also able to evoke gentleness, as on the contemplative “I Remember Clifford” and “Bye Bye Blackbird.” I missed her when she was in town earlier this year; I won’t make that same mistake twice.
