CHRISTINE HITT — You'd Be Nice to Come Home To (1999) MAXJAZZ Vocal Series | FLAC (tracks), lossless

An artist from Minnesota who studied piano at U-Minnesota and U-Arizona, Hitt recorded these sessions at Southern Illinois University and Studio 88 in St. Louis. This is her debut CD, revealing her talents as a pleasant enough vocalist and pianist whose ultimate comparison could be to Diana Krall, but who ostensibly sounds nothing like the pop-jazz chanteuse. In fact, Hitt plays better piano and sings in a less affected way -- very naturally and comfortably in her midrange. She's not histrionic, but she scats quite skillfully on many occasions, swings without flash or cabaret inclinations, and avoids blatant cuteness. Bassist Tom Kennedy and drummers Jeff Hamilton (five cuts) and Todd Strait (nine cuts) stoke the rhythm, while guitarist Rick Haydon and clarinetist Scott Alberici appear here and there. Ray Kennedy is credited on piano, but his name is missing from any track listings; Hitt sings and plays her own piano throughout, unless there's a typo. This program of 15 standards varies as one might expect, from love ballads and Brazilian music to fun tunes, though there isn't much blues. Hitt scats on the title track, and on "Joyride" she scats exclusively, not singing a written lyric; she employs clipped phrases on the lyric and mad scat on the bridge for the frantic "What Is This Thing Called Love?." On pieces with more relaxed, patient tempos, such as "Dream a Little Dream of Me," Hitt adopts a cozy style; she stays well within herself on "Thou Swell," and emphasizes her upper register to its detriment during "What'll I Do?." South-of-the-border pieces include a uniquely arranged 7/8 to 4/4 samba variation of the e.e. cummings Pooh-bear treat "Sitting in a Tree," the interesting clarinet- and guitar-based "Moonlight," and the fairly standard bossa take of "A Time for Love." Old-time swing with clarinet and strummed guitar on "Moonglow" and "In a Mellow Tone" harkens back to melancholy roots and traditions. On the torch ballad side, Hitt certainly offers an acceptable degree of emotional expressiveness for "My Foolish Heart" and "I've Got a Crush on You," without growing too melodramatic. There are two cuts with no singing that prove her to be quite an able instrumentalist. An exceptional interpretation of "Beautiful Love" sounds like she's played all her life. A waltz treatment of "Sometime Ago" is strangely credited with vocals that never come -- possibly another typo. There's also a bonus CD-ROM video track, "In the Wee Small Hours." For all the things Hitt is, she is not obvious, and that's the best part of her persona. Let others blast you with mushy multi-layered strings, loud beats, or nastily belted-out lyrics; she's searching for something deeper and more profound, and most times on this fine CD, she hits the mark. Recommended. Michael G. Nastos
Tracklist :
1.    You'd Be So Nice To Come Home To    3:24
  Cole Porter 
2.     Sitting In A Tree    3:35
3.    Beautiful Love    3:53
  Haven Gillespie / Wayne King / Egbert VanAlstyne / Victor Young 
4.    What'll I Do    2:58
  Irving Berlin 
5.    Dream A Little Dream Of Me    3:31
 Fabian André / Gus Kahn / Wilbur Schwandt 
6.    Moonlight    5:04
  Alan Bergman / Marilyn Bergman / John Williams 
7.    Thou Swell    2:03
  Lorenz Hart / Richard Rodgers 
8.    Sometime Ago    4:32
 Sergio Mihanovich 
9.    A Time For Love    5:49 
  Johnny Mandel / Paul Francis Webster 
10.    Moonglow    2:13
  Eddie DeLange / Will Hudson / Irving Mills 
11.    I've Got A Crush On You    4:14
  George Gershwin / Ira Gershwin 
12.    Joy Spring    3:30
  Clifford Brown 
13.    My Foolish Heart    4:25
  Ned Washington / Victor Young 
14.    What Is This Thing Called Love    2:21
  Cole Porter 
15.    In A Mellow Tone    3:11
 Duke Ellington / Milt Gabler 
Credits :
Christine Hitt - Piano, Vocals
Jeff Hamilton, Todd Strait - Drums
Tom Kennedy - Bass
Scott Alberici - Clarinet
Rick Haydon - Guitar
Ray Kennedy - Piano

REBECCA MARTIN – People Behave Like Ballads (2004) MAXJAZZ Vocal Series | FLAC (tracks+.cue), lossless

For Rebecca Martin, the comparisons to Norah Jones will be inevitable when critical ears listen to "Here the Same but Different" from Martin's People Behave Like Ballads. The song has the same breezy folk-pop appeal of Jones' hit "Don't Know Why" and Martin's delivery of the song is just as relaxed and carefree. But the comparison is somewhat unfair as Martin debuted her jazzy blend of folk-pop in 1999 on Thoroughfare, three years before Jones's breakthrough. She also worked with Jesse Harris (writer of "Don't Know Why") in the group Once Blue prior to his Grammy-winning work with Jones. In reality, people should be comparing Jones to Martin, but all in music is not fair. However, the folks who have already discovered Martin will be eager to spread the news that her third solo disc successfully refines her style and showcases her talent as a songwriter. People Behave Like Ballads is the appropriate title for Martin's collection as she fills the disc with unhurried songs about people dealing with relationships and their own place in the world. In the beautiful "Lead Us," relationship roles are reversed as the stronger of the two recognizes they have "got a handicap" and calls to their partner to "take the reigns," while ghosts from doomed romances begin to haunt a prospective relationship in "I'd Like to Think It's Coming." These personal explorations are often complex but the lightness in which the music is presented makes them seem simpler than they are. Martin's music leans toward folk but is shaded by jazz influences and a '70s singer/songwriter style, much like the mid-career recordings of Joni Mitchell. In fact, the influence of Mitchell can be heard within "East Andover" and "Lonesome Town" as the tracks sound like quality leftovers from Mitchell's Hejira. These two songs along with the barely up-tempo tracks "Old Familiar Song" and "I'm Not Afraid" provide the best block of music on the disc. But with all of the songs kept at a laid-back pace, at 16 tracks the disc is a little lengthy and the final songs lose identity and begin to blend into each other. Nonetheless, People Behave Like Ballads is an excellent step forward and perhaps the people who lifted Norah Jones to success will discover Rebecca Martin and give her the proper exposure she deserves. Aaron Latham 
Tracklist :
1 Lead Us 3:47
Rebecca Martin
2 Here the Same But Different 3:27
Steve Cardenas / Rebecca Martin
3 These Bones Are Yours Alone 3:31
Rebecca Martin
4 If Only 4:24
Rebecca Martin
5 I'd Like to Think It's Coming 4:59
Rebecca Martin
6 It's Only Love 3:18
Rebecca Martin
7 When the Rain Comes 3:30
Rebecca Martin
8 It Won't Be Long 2:40
Richard Julian / Rebecca Martin
9 Learning 3:26
Rebecca Martin
10 East Andover 4:19
Rebecca Martin
11 Old Familiar Song 4:18
Rebecca Martin
12 Lonesome Town 6:04
Rebecca Martin
13 I'm Not Afraid 3:02
Rebecca Martin
14 Gone Like the Season Does 3:14
Rebecca Martin
15 I'm the One 3:47
Rebecca Martin
16 Play for Me 2:51
Rebecca Martin
Credits :
Acoustic Bass – Matt Penman
Drums – Darren Beckett
Electric Guitar – Ben Monder, Steve Cardenas
Piano, Piano [ Fender Rhodes], Organ [Hammond B3], Organ [Wurlitzer], Pedal Steel Guitar, Organ [Pump Organ], Mandolin, Backing Vocals – Peter Rende
Tenor Saxophone – Bill McHenry

MARY STALLINGS — Live at the Village Vanguard (2001) Serie MAXJAZZ Vocal Series | FLAC (image+.cue), lossless

Mary Stallings sings 12 excellent and soulful interpretations of songs by such great composers as Cole Porter, Burton Lane, Louis Prima, and Duke Ellington on her second release for the Maxjazz label, Live at the Village Vanguard. Her voice is strong, rich, and full of the introspection that only comes with musical growth. Accompanied by Ron Blake on tenor saxophone, Eric Reed on piano, Vicente Archer on bass, and Carl Allen on drums, Stallings is in touch with her music and in sync with her emotions on such notables as "You're Sensational," "Sunday Kind of Love," "All Night Long," and "I Didn't Know About You." Mary Stallings brings her seductive concept to listeners and will floor you with her exceptional phrasing on "Sunday Kind of Love" and "All Night Long." Both songs are further punctuated by tender piano stylings from Eric Reed that fill each lyric, each note, with Stallings' soulful presence, subtlety, and timeless timbre. Reed also arranged all of the songs performed on the program. Tenor saxophonist Ron Blake brings his own brand of intensity to a great solo on "Gypsy in My Soul" by blending light floating tones with hard tones and emotional coolness. His innovative bebop phrases develop the song and make it even more accessible from the perspective of an instrumental voice as a foil for the human voice. Blake provides another level of involvement for the listener with his soulful nuance on "The Thrill Is Gone" as he and Mary Stallings trade phrases at the coda. This song is great. Live at the Village Vanguard is by far her best recording because she is at the height of her musical powers, four-octave range, and is singing songs that are intimate to her but speak to the soul in everyone. Paula Edelstein
Tracklist :
1.    I Love Being Here With You 4:27
Peggy Lee / Bill Schluger
2.    You're Sensational 6:25
Cole Porter
3.    Street of Dreams 4:51
Sam M. Lewis / Victor Young
4.    A Sunday Kind of Love 7:27
Barbara Belle / Anita Leonard / Louis Prima / Stan Rhodes
5.    Gypsy in My Soul 5:20
Clay Boland / Moe Jaffe
6.    You're My Thrill 4:26
Burton Lane
7.    The Thrill Is Gone 5:26
Lew Brown / Ray Henderson
8.    All Night Long 6:42
Curtis Lewis / Curtis Reginald Lewis
9.    Ev'rything I Love 5:27
Cole Porter
10.    Slow, Hot Wind 3:23
Norman Gimbel / Henry Mancini
11.    Lullaby of the Leaves 8:19
Bernice Petkere / Joe Young
12.    I Didn't Know About You 4:48
Duke Ellington / Bob Russell
Credits :
Bass – Vicente Archer
Drums – Carl Allen
Piano – Eric Reed
Tenor Saxophone – Ron Blake
Vocals – Mary Stallings