As a cool September breeze pushes the mists of summer down the bay, ushering in a new season, Carol Welsman’s Alone Together — to be released Friday, Sept. 18 — freshens some old songs you know and some you may not have ever heard. And how good is that?
Good enough that Sammy Cahn is featured twice, opening the album with the classic “Day By Day,” with Wallace Roney’s trumpet floating under and around Carol’s vocal, and later with “You Taught My Heart to Sing,” music by McCoy Tyner. Carol would win on great taste if nothing else.
But there’s a lot else. Throughout Carol sings lead with both her vocal crystal clarity and her interwoven piano work. On another classic, “It Might as Well by Spring,” her stylish singing and piano share a love affair with a song. Balanced by the delicate strength of Jay Azzolina’s guitar solo.
Then here comes a song I didn’t know, “Sand in My Shoes,” a timely ode to Havana’s lure. Yeah, I don’t like the Castros but I’d sure like to see what’s left of Hemingway’s Boat.
The title song has an a cappella intro which makes me wonder how terrific it would be if she sang the whole song that way but, hey, who could object to her piano here with the terrific rhythm section of Rufus Reid on bass and Lewis Nash on drums. They’re good everywhere on the album.
Everything’s good here. Wallace Roney’s trumpet solo on “Disappointed” is even better than his solo on “My Ship.”
“My Ship” is my favorite cut on the album, if anyone wants to know. I know. I have a weakness for Kurt Weill and Ira Gershwin but we all have our prejudices. Carol’s control of Weill’s so yearning self doubting lyrics is right on point. Pinpoint control in all places is one of the most notable qualities of her singing and piano playing throughout the album.
It’s a great strength but as an old merchant I knew once said: “What makes you strong can be your weakness sometimes.” The whole album seems so controlled, so measured, so skillfully managed, that I sometimes wish for a ragged edge, a few moments of abandon, a little feeling of improvisation.
This is essentially a jazz album after all.
Perhaps it’s Carol’s classical background that requires her to measure each note, each chord, each turn of phrase. European jazz often has that feel and just once in a while wouldn’t you like the conductor to leave the stage and just let the guys play?
But her strength is precise playing, sound arrangements, perfect song selection and, in the end, poignant emotion.
“Killing Time” brings an absolutely aching conclusion to the album. If you could hear tears, you would hear them in the spaces between the notes.
-Brian Arsenault, The International Review of Music