{"id":3437,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/mary-ann-mcsweeney-thoughts-of-you\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"mary-ann-mcsweeney-thoughts-of-you","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3437","title":{"rendered":"Mary Ann McSweeney &#8211; Thoughts Of You"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/ThoughtsOfYou.jpg\" height=\"78\" width=\"80\" hspace=\"4\" vspace=\"0\" border=\"1\" alt=\"Mary Ann McSweeney\" align=\"right\"\/><b><font size=\"4\" style=\"font-face:verdana; font-size:14pt\" color=\"Blue\" face=\"Verdana, Helvetica\">Mary Ann McSweeney<br \/><\/font><font color=\"#0000FF\" face=\"Verdana\" size=\"3\" style=\"font-face:verdana; font-size:12pt\">Thoughts Of You<\/font><\/b><br \/><font face=\"Verdana, Helvetica\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Jazz Magnet &#8211; 2001)<br \/> by John Barrett<\/font><\/p>\n<p align=\"left\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\" face=\"Verdana, Helvetica\" color=\"#000000\">  This bass is deep: woody notes, big vibrato, and a propulsive pace that goes beyond walking.  Mary Ann McSweeney blends the traditional bass approach with modern bursts of melody &#8211; &#8220;R.B.&#8217;s Tribute&#8221;, for Ray Brown, opens with a step-step-stretch-step.  The theme is a blues, told by Mike Fahn on a weary trombone.  He turns feisty on the solo, with Donny McCaslin likewise on tenor &#8230; all as Mary Ann stays her course.  She bows the intro to &#8220;Stillness&#8221;: quite solemn, and lots of vibrato.  She&#8217;s surrounded by echo, as Henry Hey floats lonely chords.  Donny&#8217;s soprano is placid, giving way to Fahn&#8217;s moan &#8211; the piano resounds, and McSweeney gets busy.  It&#8217;s a little disjointed, but the mood is right: a worried fog, hiding mystery in the stillness.  <\/p>\n<p>  All of a sudden things move: &#8220;Yes and No&#8221; has a heady kick, from Tim Horner&#8217;s cymbals to the splashy piano.  The sax-trombone blend is quite striking; Donny rasps as Mike burbles warmly.  On his solo, McCaslin is strident &#8211; his notes slither by, brusque and bold.  Fahn answers with dignity, and the luster of a French horn; Mary Ann skips strongly, and the heat is intense.  Leisure reigns for &#8220;Winter on the Bay&#8221; (the rhythm waltzes slowly, while Donny takes a spin) and &#8220;Amazing Grace&#8221; rolls down a &#8217;70s strut, on new harmonies and a Fender Rhodes.  Henry Hey&#8217;s in his element, ringing the keys with loving fervor.  (It reminds me of the old Creedence tune &#8220;Long as I Can See the Light&#8221;.)  Congas boil, McCaslin walks the mean streets &#8211; this is an urban &#8220;Grace&#8221;, and it&#8217;s very welcome.    <\/p>\n<p>  &#8220;Nana&#8217;s Tango&#8221; takes the famous rhythm and fits it to the contours of &#8220;You Stepped Out of a Dream&#8221;.  The bass is prickly, reacting to Hey&#8217;s mannered solo.  Donny moans like an oboe, zipping between some very high notes.  Mary Ann then slows it down: lonely notes, vibrating broadly, all told in sadness.    <\/p>\n<p>  The waltz returns on &#8220;You Don&#8217;t Know What Love Is&#8221; &#8230; this time in a grittier hue.  The tempos keep changing but the tension stays high; here too is Fahn&#8217;s best solo, restless and rough.  A trio brings us home, with &#8220;Thoughts of You&#8221;: still bass, fluttering keys, drifting brushes, and the persistent breath of romance.  In the middle it gets vigorous, as Hey makes his hands wander; Horner starts slapping and the night air falls.  Mary Ann starts like brown on her solo, then strums for a chimelike sound.  This group is well, its tunes moody and melodic &#8230; and the thoughts are plentiful.  <\/font><\/p>\n<p>    \t          <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mary Ann McSweeneyThoughts Of You(Jazz Magnet &#8211; 2001) by John<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3437","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3437","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=3437"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3437\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}