Some cuts of jazz can be so smooth and wielding, with unadulterated cool, the spin could be deemed illicit. That said Vickie Burns Live at Anna’s Jazz Island should be prosecuted for excessive, yet joyous, jazz exploitation. Commencing with Ms. Burns' scat allure, to her blues demeanor, this classic jazz perspective soars!
Live at Anna’s Jazz Island is a penetrating slice of jazz with an eclectic nature. The mixture comes from all directions, the music behind the vocals is precis, and in synch with the vocal tempos designed. The venture is a fine example of the classic genre and the deserving respect earned.
Blues gained an innovative perspective with Ms Burns feel of "Sweet Home Chicago," as her emotional execution of the blues mentality stimulates in a fascinating fashion. John Nichols' strings are fine-tuned to the Burns tonality, which guides her lyrical efforts along with a passionate, ushered in swagger.
Ms. Burns is a serious and driven entertainer, easily understood in her vocal execution and diverse sway. Burns, an assured vocalist, is consistent and technical, partnered with a cast of ever-evolving craftsmen in studio with her.
Adam Blankman and Burns ignite this studio session with a fervid and "Left of the Label" scat duet, which swings by the name of "Billies Bounce." Note the fine bass thump of Sam Bevan, who keeps the two scatters as tame and focused as he can. This conversation in scat is a classic jazz negotiation between two interpretations.
Live at Anna’s Jazz Island is void of a stray cut. Each spin has a personality praiseworthy of mention. More so, the effort justifies numerous hours of push-n-play. Ms. Burn’s vocals are without hesitation, a decadent jazz aphrodisiac!