{"id":3735,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/rene-marie-vertigo\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"rene-marie-vertigo","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3735","title":{"rendered":"Ren\u00e9 Marie &#8211; Vertigo"},"content":{"rendered":"<p align=\"left\"><img loading=\"lazy\" decoding=\"async\" align=\"left\" alt=\"Ren\u00e9 Marie\" height=\"140\" hspace=\"4\" src=\"https:\/\/jazzusa.com\/storypix\/Vertigo.jpg\" vspace=\"2\" width=\"140\" border=\"1\"\/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\" style=\"font-face:verdana; font-size:10pt\">Ren\u00e9 Marie<br \/><\/font>  <font color=\"#0000ff\" face=\"Verdana\" size=\"3\" style=\"font-face:verdana; font-size:12pt\">Vertigo<br \/><\/font>  <font face=\"Verdana\" size=\"1\">(MaxJazz &#8211; 2001)<br \/> by John Barrett<\/font><\/p>\n<p><font face=\"Verdana\" size=\"2\">Ren\u00e9 surprised a lot of people with her first album How Can I Keep from Singing?: with dry wit she took on tunes outside the realm of jazz (such as &#8220;Tennessee Waltz&#8221;.)  This one features an all-star band, a program of standards &#8211; and it may be more eclectic than the first.  Who ever went sultry on &#8220;Surrey with the Fringe on Top&#8221;?  Beneath her Peggy Lee sizzle, Mulgrew Miller pours on the big chords &#8211; like Red Garland did on the Miles Davis version.  She goes to the Caribbean on &#8220;I Only Have Eyes for You&#8221; we hear clapping hands, tapping bongos, and John Hart&#8217;s guitar in leisurely waves.  <\/p>\n<p>    Those vocal leaps are a joy; she&#8217;s having fun with the tune, and hopes you will too.  While most singers do &#8220;It&#8217;s All Right with Me&#8221; as a giddy socialite, Ren\u00e9 is depressed &#8230; and positively spectral.  The bass dives deep, Chris Potter sibs a bass clarinet, and she seems oddly resigned.  An a cappella, innocent &#8220;Dixie&#8221; gives way to &#8220;Strange Fruit&#8221;, fraught with all the pain it deserves.  (Listen to Jeremy Pelt, whose trumpet screams with passion.)  Following this is &#8220;Blackbird&#8221;, made fevered, tribal, and sung as if by Nina Simone &#8211; the message is obvious, and it is beautiful.   <\/p>\n<p>  On three of the tunes Ren\u00e9 is the author &#8211; reliable melodies, spiced by impish words.  &#8220;I&#8217;d Rather Talk About You&#8221; is an old-fashioned romp from a modern perspective.  (&#8220;Of Greenspan and his interest rate, can&#8217;t say I really care!&#8221;)  Miller plays it like a back-room bluesman, and what a pleasure it is.  &#8220;Don&#8217;t Look at Me&#8221; revels in its sophistication: it&#8217;s probably the best lyric I&#8217;ve heard this year.  &#8220;And she heard his lilt\/ And he felt her fire\/ Her resistance built\/ As the stakes got higher\/ Thought he heard her say\/ In a soft voice, &#8220;No, Sir&#8221;\/ She pulled away\/ And he just pulled her closer.&#8221;  She sings it huskily, and in the background is Pelt, murmuring with a mute.    <\/p>\n<p>  With &#8220;Vertigo&#8221; the tempo is fluid, the time changes often (from 5\/4 to 4\/4 to 3\/4 and back) &#8211; and emotions leap from fright to delight.  Hard to describe, its intensity hits you hard, along with Potter&#8217;s Tranelike tenor.  An album of such power is rare &#8211; but so is a singer with this kind of talent.      <\/font><\/p>\n<p align=\"center\"><font face=\"Verdana, Helvetica\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><cfinclude template=\"adbanner.asp\"\/><\/font><\/p>\n<p align=\"center\">\n<p>  <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ren\u00e9 Marie Vertigo (MaxJazz &#8211; 2001) by John Barrett Ren\u00e9<\/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-3735","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3735","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=3735"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3735\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}