{"id":10820,"date":"2016-09-13T00:01:42","date_gmt":"2016-09-13T07:01:42","guid":{"rendered":"http:\/\/jazzusa.com\/?p=10820"},"modified":"2018-10-25T20:23:58","modified_gmt":"2018-10-26T03:23:58","slug":"robin-bessier-other-side-of-forever","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=10820","title":{"rendered":"Robin Bessier &#8211; Other Side of Forever"},"content":{"rendered":"<p>Robin Bessier\u2019s debut album, Other Side of Forever is a musical journey &#8212; a kaleidoscope of musical influences and philosophical perspectives, including five never-before recorded originals, and fresh takes on a few select jazz standards.<\/p>\n<p>Bessier\u2019s crystalline vocals are met with lush arrangements that include all six members of the band on-deck; small combos that dig deep into the groove of each song; and stripped-down impromptu pieces with piano and voice alone. The album interweaves toe-tapping swing tunes, with cool and swaying bossas, haunting ballads and effervescent sambas.<\/p>\n<p>The album begins with one of Bessier\u2019s originals, a swinging \u201cDon\u2019t Worry, We\u2019ve Got You.\u201d Reminiscent of Freddy Green, guitarist Dan Sales does serious justice with his back-up and solo.<\/p>\n<p>\u201cJubilee\u201d is a joy-infused piece that drops you into a Caribbean street parade. Percussionist Jeff Busch brings out all his toys on this piece, and Jay Thomas clones himself, playing both trumpet and saxophone in a call and response solo. Producer\/arranger Barney McClure adds his voice to the chorus vocals here.<\/p>\n<p>\u201cGod Bless the Child\u201d is a simple, soulful rendition, featuring Barney McClure on piano (the only song he plays on in this album, that otherwise features the phenomenal Darin Clendenin on piano). Barney is a monster player in his own right, and this song is just a hint of what he is capable of. A consummate accompanist, he lays back and gives Bessier room to move.<\/p>\n<p>\u201cRight Here, Right Now\u201d is another Bessier original, written the morning after she sang for the first time with Barney at the renowned Upstage Theater and Restaurant in Port Townsend. It should be noted that Barney had shared the title song \u201cOther Side of Forever\u201d with Robin during rehearsal that previous afternoon. These initial steps began the journey that became this album.<\/p>\n<p>\u201cPrelude to a Kiss\u201d is inspired by, and dedicated to, the extraordinary jazz singer, Jan Stentz, who passed out of this physical realm much too young. Her consummate musicianship and beautiful spirit remain a constant influence.<\/p>\n<p>Barney\u2019s Latin song \u201cToo Nice\u201d was too fun not to include in this album. And listen for the solo section. Jay Thomas and Darin Clendenin smoke.<\/p>\n<p>\u201cWhisper\u201d is one of Bessier\u2019s first compositions, written before the turn of the century (sadly yes, this is true\u2026). To hear this piece come to life under the skilled hands of these world class musicians was a dream come true.<\/p>\n<p>\u201cBetter Than Anything\u201d poses a philosophical question that has been debated for several years, but there is no debating that this version, which features the masterful Mark Ivester on drums, offers up more than your average waltz.<\/p>\n<p>Daren Clendenin arranged the beautiful Herbie Hancock song \u201cHarvest Time\u201d in a way that honors the original instrumental version, with a seamless blending of the vocal that includes words by Herbie\u2019s sister Jean. Darin\u2019s sensitive playing, that manages to be light yet full of substance at the same time is exquisite, allowing Bessier the freedom to be introspective and to soar.<\/p>\n<p>\u201cThe Very Thought of You,\u201d typically done as a ballad, takes on new energy with this swinging version. The brilliant bassist Clipper Anderson, who shines throughout this album, is featured on the solo section.<\/p>\n<p>\u201cOn the other side of forever&#8230;\u201d The words and haunting melody of the title track of this album evoke a yearning for what was, for what could have been; the bittersweet impermanence of life here in the this physical plane; the illusion and fleeting nature of time; and ultimately, the value of living in and appreciating the simplicity of each moment.<\/p>\n<ul>\n<li>Robin Bessier \u2013 Voice<br \/>\n(Pronounced: Robin Bess-\u00ad\u2010ee-\u00ad\u2010ay\u2019)<\/li>\n<li>Darin Clendenin \u2013 Piano<br \/>\n(Pronounced: Darin Clen-\u00ad\u2010den\u2019-\u00ad\u2010in)<\/li>\n<li>Clipper Anderson \u2013 Bass<\/li>\n<li>Mark Ivester \u2013 Drums<br \/>\n(Pronounced: Mark I\u2019-\u00ad\u2010ves-\u00ad\u2010ter)<\/li>\n<li>Jay Thomas \u2013Trumpet, Flugelhorn, Tenor &amp; Soprano Sax<\/li>\n<li>Jeff Busch \u2013 Percussion<\/li>\n<li>Dan Sales \u2013 Guitar &amp; Banjo<\/li>\n<li>*Mike McKinley \u2013 hand percussion on Jubilee<\/li>\n<li>*David Lange \u2013 hand percussion on Jubilee<br \/>\n(Pronounced David LANG)<\/li>\n<li>*Barney McClure \u2013 piano on God Bless the Child; background vocals and hand percussion on Jubilee<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Robin Bessier\u2019s debut album, Other Side of Forever is a<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10820","post","type-post","status-publish","format-standard","hentry","category-jazz_reviews"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10820","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10820"}],"version-history":[{"count":3,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10820\/revisions"}],"predecessor-version":[{"id":11045,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10820\/revisions\/11045"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10820"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10820"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10820"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}