 |
"…Calm, happy, and bright." That’s a line from the title track, but that’s also how she sounds. Patrice Williamson has a spring in her voice, a warm sass that smiles as she goes. Her scat is graceful, rising high in a trumpeter’s swoop. It’s the sound of the old breed: she says "there’s an angel watching o’er me," and she means it. You hear the love of words, the pure notes, the warm vibrato, and you agree with the title. Shining–definitely. 'Blue Skies' is in a darker hue than expected. Even the bridge is downcast; thank Helen Sung and her pungent piano. The approach is a surprise, and here’s another: Stevie Wonder’s 'Overjoyed,' cast as a bossa nova and served up with love. 'If You Could See Me Now' sports a breathy voice, sliding notes like a fiddle. Sung sparkles, and those brushes can almost be tasted. It’s the sound of white satin: flowing, soft, delightfully feminine. 'Fascinatin’ Rhythm' lives on the verse: a menacing strength that Patrice builds with glee. The song proper is average, though the trumpet solo is prime. 'Perfect Stranger' brings her sassy side. Patrice shouts her displeasure at love, and hints (strongly!) that it could be different this time. Phil Grenadier has another good turn, and Patrice shines. She’s close to perfection. 'Sayang' is the lone original, a hopeful cry of true love with thrilling vibrato. It sounds like the Fifties: simple and sleek, with a great rhythmic bridge. The piano dances, a gentle tryst over light cymbals. It’s a nice statement, and it fits by the standards. Bud Powell’s 'Wail' is a scat feature, Grenadier joining for a two-trumpet sound. Her solo tops his, and they leave together so sweet. 'Love is Here to Stay' starts slow and Latin. Patrice is radiant, a full creamy voice caressing each word. You have a name here to remember: if all goes well, she may shine long. –John Barrett, Jr. |
 |