Out of This World
BACKGROUND . . . 'Spring 2000, old friends, Joanne McKracken and George Mokray, got me out to hear Patricia Adams at Ryles. I still remember a thought: 'This'a first since Nat 'King' Cole I've listened to lyrics so effortlessly and intently.' 'Set's finished and Patricia's at our table. George introduces Joann, then me. 'Hello, Oh! You're doing?!' I explained I often sketch at live performances. Delighted by my pen and inks, she wants to borrow them for just a moment. She turned, faces the audience and shouts: 'Emmanuelle! Look what we have!' Not a gospel shout - - as I first thought. Emmanuelle LeGal's art directing Patricia's 'Out of this World' CD 'it's our cover!' Patricia excitedly exclaimed while she whisked away my 20-odd drawn-on-paper-shards to a nearby table. More booking's made new watercolors even few of the 20 reached Out Of this World.' Bill Commerford/Boston Patricia Adams, bandleader and vocalist, shuttles her renditions of standards from renaissance Harlem and Tin Pan Alley between Manhattan, Westchester, Hartford and Boston venues. Reviewers say, ' . . . reigns when she steps to the microphone . . . backed by a superb trio . . . classy song stylist . . . her ability to put together a musical road atlas sets Adams apart . . . voice is silky smooth, yet strong'. Qualified and listed in four categories on the 44th annual Grammy Awards ballot, songs include two arrangements of the Harold Arlen title tune which opens and closes the album, Cole Porter favorite, Ev'ry Time We Say Goodbye, contemporary improvisation repertoire including Moonlight In Vermont, Tell Me You'll Wait For Me, and Don't Explain. Hear a jazz gospel arrangement of Corner Of The Sky from the Broadway hit, Pippin and a salsa Nearness Of You. The rest of the album includes All My Tomorrows, Can't We Be Friends, Come Rain Or Come Shine, I Had The Craziest Dream and Train Station Blues. The exceptional artwork, sketches and watercolors on the disc and the insert were painted live while the quartet was in performance at Ryles Jazz Club in Cambridge, MA and Borders Book Shop in Framingham, MA and are thanks to the gracious generosity of the artist, Bill Commerford/Boston. Stepping onto a nightclub stage for the first time in 1992 at Scullers Jazz Club in Boston, Adams segued to designated show opener there for the Frank Wilkins Vocal Showcase until 1996. Two years, a hundred open mics and twenty nursing homes later, she took the plunge and traded her thirty-five year career in human resources management for life as a full time artist. Many press kits and phone calls later, her venues now attract those who enjoy the jazz and blues standards of the 1930's and '40's. Her following has grown from family and friends to thousands. Adams is a voting member of the National Academy of Recording Arts & Sciences and served on the board of the New England Conservatory. The CRITICAL REVIEW 2523 Montana, El Paso, TX 79903 Adams oozes out sophisticated vocals that percolate. The whole feel is a slow sizzle. The title track sets the mood, one that exudes class. It's a song by Arlen and Mercer. On 'Don't Explain' [Billie Holiday], 'Girl Talk' fills a spot for a light fun tune. And it is good jazz too. A classic 'The Nearness of You' adds solidity to the project. I really liked the playing with great ivories, bass, and that lively drumming. It was one of my favorites. Adams voice is silky smooth yet strong. A gem. Cole Porter's 'Ev'ry Time We Say Goodbye' is a change of pace. The mood slows and the sense is rich and thick, a quality work. On 'I Had The Craziest Dream' [J Mercer] we get the unique Adams vocal touch. The fine bass work and percussion stand out. The number offers sophisticated artistry that impresses. 'Moonlight in Vermont' follows, with the long and upbeat 'Corner of the Sky' coming after. Here funk and blues meld and the cut is an interesting turn in the album. A flute by guest artist Kenny Wenzel is an interesting touch. Then we come to the nuanced 'Tell Me You'll Wait for Me' and 'Can't We be Friends?' that harkens back to the days of ragtime-jazz. One number that Adams sings smart on is 'Come Rain or Shine' by Arlen and Mercer. The work is well-paced, lively, smart, and fun. Another guest artist on the CD is Jimmy Hill on sax. The longest track on the project is 'All My Tomorrows' [Jimmy VanHeusen] (7:13) and the song proves to be a big winner. Here lush vocals meet great musical support and the results are impressive. It may be the best cut on the album as it has subtle nuances, slow yet thick movements, solid acoustics, and great production. [The production throughout the CD is top quality by Doug Hammer and Adams] The 13th cut is an original by Adams, 'Train Station Blues.' It works well. The ending number is the title track but part II. This is an impressive effort. I highly recommend this album full of great jazz numbers covered perfectly by this singer and her group. There's a sense of intimacy and knowledge among the players and the result is wonderful listening. Highly recommended. A. Canales Copyright 2000-00 AMG EXPERT REVIEW Date of Release Mar 6, 2001 AMG Rating **** Genre Jazz 'For her third album, New York and Boston-based jazz vocalist Patricia Adams continues the practice she started in previous releases by addressing a play list of mostly tried and true standards peppered with a few lesser-known tunes. But whatever category the song falls in, it gets the full Adams treatment with her husky voice, excellent phrasing, good diction, and lyrical sensitivity, all with various doses of the blues. An added fillip to this album is the presence of guest artists Jimmy Hill and Kenny Wenzel to augment her regular quartet. As on her previous endeavors, she keeps her sidemen happy by allowing them plenty of opportunity to express themselves. Wenzel takes full advantage of that chance with a fine solo on 'Come Rain or Come Shine,' which turns into a major production with the group sounding much larger than it is. Adams never allows herself or the program to fall into a rut. The gospel/R&B-like 'Corner of the Sky,' with Doug Hammer on keyboards and the fancy fluting of Wenzel, comes right on the heels of a heartfelt ballad rendition of 'Moonlight in Vermont,' which in turn is followed by a saloon treatment of 'Can't We Be Friends.' Her ability to put together a musical road atlas sets Adams apart from many of the jazz vocalists on the contemporary scene. One of the more inventive arrangements is the one for 'Don't Explain,' which is given a processional feel with Stanley Swann's drums thumping out the promenade rhythms underneath both Adams' solemn singing and Hammer's baroque-like piano. Each of Adams' recorded efforts is a happening because of it's unusual arrangements of well-known material, and this one continues right on down that road. Recommended.' - Dave Nathan Adams' discography includes Live@Ryles Jazz Club, Sets 1, 2 & 3 (2005), With Our Compliments!(2004), Out Of This World (2001)which placed in four categories on the 2001 Grammy Awards ballot, Blue For You (1998),and Raw Silk (1996). Her recordings are available through CDBaby.com and subscribers to music services offering digital distribution. Earning BS and MBA degrees in the 1960's, Adams studied music theory, harmony, and improvisation at the New England Conservatory in Boston and at the Performing Arts School of Worcester in the 1990's. She has studied with Semenya McCord, Dominique Eade and Frank Wilkins in Boston and with Jeannie Lovetri of Voice Workshop and Jim Carson, Sheila Jordan and Kirk Nurock in Manhattan. LYRICS: Train Station Blues 'I got the train station blues, blue as I can be. I got the train station blues, just as blue as I can be. I been waitin' on that train to come and carry me. Now, the train she's black, black as black eyed peas, Yeah, the train she's black, (just as) black as black eyes peas. She must be sweet if she's gonna carry me. Train travels north!! And south!! Then, east and sometimes west. It travels up and down, side to side, all around - - runnin' and funnin' right here on the ground. I got the train station blues waitin' here on me, I got the train station blues just a'waitin' right here on me. When it gets to town, how happy I will be. Instrumental solo A section Train goes clickety, clickety, clickety clack, Clickety, clickety, clickety, clickety, clickety, clickety clack, clack. Ooooooooooooooooooooooooh Whueooooooooo. Here comes that train. I been standing here, even in the rain. Sax solo Train travels north, then south,then east and sometimes west. It travels up and down, side-to-side, all around; runnin' and funnin' right here on the ground. I've got the train station blues, blues sure got me down. I've got the train station blues, blues sure got me down. I been waitin' on this train ever since I came to town. Tag And, it must be sweet if it's gonna carry me, ah yeh It must be sweet if it's gonna carry meeeeeeeeeeeeeeee.