Ballads Blues & Bey = Bliss

For those who (along with his sisters) and 70 do not know Andy Bey's photographs from the '60s (including with Horace Silver and Max Roach), this album is a true revelation. For the rest, of course also. Andy Bey turns at the piano with his voice ten standards in existential reflections. This is mainly due to the fact that the pieces are all set fairly high, so that the singer walks especially in Willingen falsetto heights. The voice oscillates in this register between an airy fragility and a full sound with generous vibrato, which is reminiscent of the late Sarah Vaughan. And when it descends in earthy depths, pulling a pull in her, then says you recover the entire span of the world in this vote.
Closeness and intimacy characterize this album and amplified by the recording technique made you feel like sitting next to Andy Bey at the piano and he would sing one ear, breathe, whisper. And where you were sitting prefer? Never sounded Gershwin Someone to watch over me so little naive and full of longing. In a sentimental mood, one of four Ellington songs, could serve as the title of the whole CD. With Willow weep for me, he will get his wish and bring trees cry and Yesterdays, where the accompaniment of the intro You'd Be So Nice to Come Home to quotes, raises the question of how everything was better before this CD can be. This bard lets us share in the higher wisdom that he looks into the introspection, as suggests to us the cover. But not without a mischievous smile that'm most clearly in I just a lucky so and so comes to light.
Ballads, Blues and Bey is an impressive comeback and one that represents the recording industry for their Nachlässig- and forgetfulness in a manner similar to Jimmy Scott in the pillory. But "Je oller, depending Doller" and so we have at least the satisfaction to be able to experience the mature Andy Bey on board. And the pleasure!