Beverley Church Hogan | Can't Get Out of This Mood

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Jazz: Jazz Vocals Jazz: Cool Jazz Moods: Mood: Dreamy
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Can't Get Out of This Mood

by Beverley Church Hogan

A gorgeous selection of songs from the Great American Songbook complemented by lesser-known gems sung with smooth, soulful and passionate delivery by Beverley Church Hogan. "Can't Get Out of This Mood" features some of Los Angeles' top musicians.
Genre: Jazz: Jazz Vocals
Release Date: 

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  Song Share Time Download
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1. Take My Breath Away
5:00 $0.99
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2. Losing My Mind
4:19 $0.99
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3. You're Looking at Me
5:15 $0.99
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4. Can't Get out of This Mood
4:31 $0.99
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5. Wait Till You See Him
5:08 $0.99
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6. By Heart
4:40 $0.99
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7. I'm Through with Love
4:15 $0.99
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8. Speak Low
4:10 $0.99
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9. Stuck in a Dream
4:49 $0.99
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10. Time After Time
4:31 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
LINER NOTES BY THOMAS CUNNIFFE--
It is said that patience is a virtue, and vocalist Beverley Church Hogan must have an abundant supply. The CD you’re holding is her recording debut, and while it was recorded fairly recently with a stellar group of Los Angeles’ finest jazz musicians, it could have been made a few decades ago with an entirely different set of performers. Beverley, who sang professionally while growing up in Montreal, was offered a recording contract with Capitol Records, a deal which also included 58 weeks of guaranteed nightclub work. She was ready to sign, but realized that a year travelling alone on the road would not serve the best interests of her infant daughter and her husband, who was then building his own career. About 15 years ago, Beverley began a series of annual concerts at the LA jazz club, Catalina’s. She received acclaim for her sensitive treatment of music and lyrics, and every year, the house was packed with new and continuing fans. She could have gone into the studio at any time during the last decade-and-a-half, but she waited until she felt completely right about the songs she would sing and the musicians who would accompany her.

Suffice to say that the enclosed recital has been well worth the wait. Beverley has selected ten outstanding songs, each related to people and events from her life. In addition to songs from classic composers like Richard Rodgers, Frank Loesser, Jimmy McHugh, Sammy Cahn, Kurt Weill, Bobby Troup, and Matty Malneck, Beverley has included pieces by the contemporary jazz singer René Marie, the obscure songwriter Cas Caswell, and the legendary Stephen Sondheim, as well as a collaboration between lyricist K Lawrence Dunham and the producer/pianist on this album, John Proulx. For this album, Proulx leads a stellar group of musicians, including trumpeter Ron Stout, saxophonist/flutist Doug Webb, guitarist Graham Dechter, bassist Lyman Medeiros and drummer Clayton Cameron. While Beverley never received musical training, she has found an effective way to communicate her creative ideas to her sidemen. On one occasion, she spoke to Proulx about an idea she had for Sondheim’s “Losing My Mind”; Proulx picked up the concept instantly and was able to translate the idea into musical terms. And while Beverley may not have gone through the formal musical education of others, she has thoroughly learned the craft of jazz singing by studying the music of her contemporaries, and by trusting her deep musical instincts.

As an example of Beverley’s exquisite way with a ballad, listen closely to her interpretation of “I’m Through with Love”. The lyric is particularly challenging in that the sentiment reflects the singer’s current state of mind, but probably does not foretell her future. Beverley’s reading encompasses both levels of the words: the rubato, conversational rhythm of her delivery makes us believe the immediate emotions of the lyric, but the warmth of her sound tells us that she will indeed fall in love again, no matter how much she tries to fight those feelings. Moving to the Sondheim, notice the matter-of-fact reading of the lyric, as if the memories of a former lover are just part of the daily routine. But listen to how Stout’s flugelhorn solo becomes an integral part of the evolving arrangement, building the emotional core and encouraging Beverley’s dramatic interpretation of the final chorus. I love Beverley’s lazy slides and flexible melodic inventions on the opening chorus of “Time After Time” and Webb’s energetic-but-still-tender tenor solo which follows. And before I forget to mention it, listen throughout for Beverley’s outstanding pitch control and diction. You’ll understand every word sung on this album, and every note lands in the center of the pitch (without using the dreaded AutoTune!)

I asked Beverley to tell me about her approach to singing. She said, I am singing for the person I sit beside. I want them to get the story that I’m telling, because I know that it’s probably their story, too. I want to relate my deep inner feelings about the lyric, to allow my listeners to relate to past events in their lives and have a musical conversation with them. I believe that music is the sound of feelings, and I want my audience to feel that. This recording offers abundant examples of that kind of sensitive storytelling. Like the photographs of her famous brother Tedd Church, Beverley instantly finds the essence of her chosen subject and discovers a way to communicate that quality to her audience. The style is subtle and minimalistic, but it effectively delivers the message. Now that Beverley Church Hogan has shown us her art in a unique and understated fashion, perhaps we will not have to wait too long to hear more examples. Certainly, she has much to offer us in the future.

THOMAS CUNNIFFE is the publisher and principal writer of the acclaimed website, jazzhistoryonline.com.

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