music

When the Wind Was Cool

When the Wind Was Cool was Eade's first CD for RCA Victor, released in 1996. Producer Ben Sidran, label consultant Steve Backer, and Eade arrived at the idea of covering repertoire associated with vocalists June Christy and Chris Connor. In homage to the wonderful arrangers these one-time Kenton vocalists' recordings often featured, the ensembles on this recording are varied and unusual. Eade scored some of the arrangements herself and called on Fred Hersch, Phillip Johnston, and Allan Chase to supply the others. Saxophone great Benny Golson is a special guest.

Fred Hersch, piano
Benny Golson, tenor saxophone
Bob Malach, flute
Bruce Williamson, bass clarinet
Peter Leitch, guitar
James Genus, bass
Steve Nelson, vibraphone
Jamie Haddad, frame drum
Matt Wilson, drums
Café, percussion

Sony Studios, New York City
March 17-21, 1997
James Farber, engineer

  1. Moon Ray, Artie Shaw, Paul Madison, Arthur Quenzer
  2. Ridin' High, Cole Porter
  3. Something Cool, William C. Barnes
  4. All About Ronnie, Joe Green
  5. Poor Little Rich Girl, Noel Coward
  6. When the Wind Was Green. Donald Henry Stinson
  7. I'll Take Romance, Ben Oakland, Oscar Hammerstein
  8. The Wind, Russ Freeman, Jerry Gladstone
  9. Intrigue, Paul Durand, Ervin Drake
  10. Lullaby of Birdland, George Shearing, George David Weiss
  11. The Bad and the Beautiful, David Raksin, Dory Langdon Previn
  12. Tea For Two, Irving Caesar, Vincent Youmans
  13. Goodbye, Gordon Jenkins

Reviews of "When the Wind Was Cool"

"There has always been an aura surrounding Eade's singing that recalls the true father of the cool, Lester Young." — Bob Blumenthal, The Boston Globe

" When the Wind Was Cool is as enchanting and inventive a jazz vocal album as anything you're likely to hear this side of Betty Carter. Like the master, Eade knows how to make fresh compelling drama out of familiar material. Just the right amount of wit and emotion. Her brio is so infectious, you don't notice how good her timing and dynamics are. On the first listen, anyway. Eade isn't just another lovely voice who knows how to bend notes. She is one of the few imaginative artists to have emerged in the field of jazz singing in this decade." — Gene Seymour, New York Newsday

"Eade's an exceptional vocalist." — Kirk Silsbee, New Times, LA

"Top 10 of 1997. Poignant and more often than not, downright gorgeous." — Bob Young, The Boston Herald

"A bold and atmospheric tribute to Chris Connor and June Christy. Eade's rich voice, her effortless delivery and the tasteful assurance with which she embellishes melodies make her sound totally at home with the vintage repertoire. The great Benny Golson could easily have stolen the scene if not for Eade's commanding vocals." — Bob Blumenthal, The Atlantic Monthly

"Eade turns in an exceptional performance that displays her fluid full-bodied voice, appealing phrasing and ebullient scatting. A satisfying mix of touching ballads and ripping up tempo tunes." — Dan Ouellette, Downbeat

"A superb musician whose skill and self-assurance enhance an already gorgeous voice." — Karen Bennet, Musician Magazine

"A vocal virtuoso. She's passionate, intelligent and distinctively hip." — Bret Primack, Jazz Times

"Top 10 of 1997. Magnificently conceived and executed." — The Boston Globe

"Fearsomely intelligent melodic sense and scatting to rival Ella herself." — New York Magazine

"Top Ten of 1997. Her timing and her taste are impeccable, as are her repertoire and her arrangements." — Jon Garelick, The Boston Phoenix

"There's an emotional richness in her voice crammed with gestures minute and grand. She catches every nuance of the original without falling back on imitation." — Will Friedwald, FI

"It's a voice full of knowingness and compassion, from which optimism and joy have not been extinguished." — Ed Hazell, The Boston Phoenix

"Eade's worth watching, she's got the goods." — Lee Jeske, Jazziz

"Her quiet melding of "Come to the Party" and "Something Cool" was particularly striking, it's bittersweet emotion dissolving into an air of sultry solitude. Eade also demonstrated her harmonic finesse by punctuating material with imaginatively designed and crisply executed scat interludes. And the duets she performed with her bandmates radiated a special kind of harmonic verve." — Mike Joyce, The Washington Post

"Top Ten of 1997." — Jazziz

"Top Ten of 1997." — Jazz Times

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