MP3 Katchie & Le Monde Caché - Tales & Tongues
Bossa nova, swing, tango, bolero,
jazz waltz, samba--in Yiddish,
French, Portuguese, Ladino,
Spanish, and Italian. Katchie
Cartwright, Richard Oppenheim,
Mark Lomanno, Billy Satterwhite, Kevin Hess. Label: Harriton Carved Wax. Genre: jazz-world
11 MP3 Songs in this album (61:19) !
Related styles: Jazz: Jazz Vocals, Featuring Saxophone
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Bossa nova, swing, tango, bolero, jazz waltz, samba--in Yiddish, French, Portuguese, Ladino, Spanish, and Italian. Katchie Cartwright, Richard Oppenheim, Mark Lomanno, Billy Satterwhite, Kevin Hess. Label: Harriton Carved Wax. Genre: jazz-world.
Genre: Jazz: Jazz Vocals
Release Date: 2011
Related ItemsRecommended if you like
Cartwright/Oppenheim
Katchie Cartwright
Richard Oppenheim
Genres you will love
Jazz: Jazz Vocals
World: World Traditions
Moods: Featuring Saxophone
By Location
Texas
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0.5108783145768462Tales & Tongues
Katchie & Le Monde Caché
© Copyright-Harriton Carved Wax
(733792381223)
Record Label: Harriton Carved Wax
Buy CD - $15.00
Download Album (MP3) - $9.99 see album notes & reviews Share This Album| Share
Preview Song Name Time Format Price Select
1. Alta Va La Luna 6:13 Album Only
2. Bay Mir Bistu Sheyn 5:38 Album Only
3. Sous Le Ciel De Paris 5:13 Album Only
4. Ikh Hob Dikh Tsufil Lib (Verse) 1:35 Album Only
5. Ikh Hob Dikh Tsufil Lib 4:06 Album Only
6. Triste 4:13 Album Only
7. Estate 8:28 Album Only
8. El DĂa Que Me Quieras 6:43 Album Only
9. Chega De Saudade 6:11 Album Only
10. Que Reste-T-Il De Nos Amours 5:41 Album Only
11. Delilah 7:18 Album Only
preview all songs
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Album NotesStanding apart, making music of distinction and lasting value, isnât easy in any field. But as my
colleague Francis Davis argued in a 2006 essay for The Atlantic: âWe expect more from singers âŠ
because words speak to us in a way no trumpet or saxophone can â and because their instrument is
also ours.â For Katchie Cartwright, standing apart isnât a problem. A longtime New Yorker with a
Ph.D. in ethnomusicology, she relocated to San Antonio, Texas in 2006 and has a tenured appointment
at Northwest Vista College. Her previous efforts include treatments of works by John Cage and poet
Lawrence Ferlinghetti. Now, with Tales and Tongues, she shifts her attention to what she terms the
âglobal songbook.â
If weâre convinced by Davisâs take on the immediacy of words, just think of the possibilities and
poetic richness of a collection sung in Ladino, Yiddish, Spanish, Portuguese, Italian and French.
Leading her group Le Monde CachĂ© (âthe hidden worldâ), Cartwright brings out the ardor and melodic
refinement in this material, singing with great poise and also playing flute, her first instrument,
which to her constitutes a language in itself. âMy specialization is cross-cultural theories and
practices of improvisation,â Cartwright explains, drawing a line from her academic to her artistic
work. âWhen I got to San Antonio I also started a radio show, âPlanet Jazz,â on the Trinity
University station, and a lot of that was the global songbook â playing music that has gone into
the jazz âstream,â things that have gone back and forth from African diaspora cultures and can be
considered a part of jazz, in one way or another.â
From all these various corners came the songs of Tales and Tongues. Cartwright enlisted a group of
musicians who would do them justice, beginning with her husband and frequent collaborator, alto
saxophonist Richard Oppenheim. âA friend calls him the flamethrower,â says Cartwright. âHeâs a
great musician, with a lot of depth and breadth and great ears. We talk a lot about what it is that
weâre going for: the sound, the timbres, the arrangements and so on.â
Cartwright met pianist and fellow ethnomusicologist Mark Lomanno âwhile we were founding the
Southern Plains chapter of the Society for Ethnomusicology. I was really fortunate to have him to
work with.â Of Billy Satterwhite, the bassist, Cartwright
says: âHeâs one of the younger generation, working on a Masters in Ann Arbor, Michigan with some
colleagues of mine. âBilly the Kidâ we call him, very eager and wonderful.â Drummer Kevin Hess, she
adds, âis from a piano-tuning and musician dynasty here in San Antonio.â Together, they all âgetâ
Cartwrightâs intention on Tales and Tongues, coming to grips with music from vastly different
traditions and vocabularies and giving it life in a new context.
While readying these songs for performance, Cartwright wrestles with subtleties of pronunciation
and phrasing, of meaning and syntax. In the end she connects not just to the poignant texts, but
also to the doleful minor-key melodies that make up this set. That subtle Old World tonality,
Cartwright notes, can be found in certain corners of American pop â she cites Irving Berlinâs âBlue
Skiesâ or Cole Porterâs âMy Heart Belongs to Daddyâ as examples. From the Benny Goodman-associated
classic âBay Mir Bistu Sheynâ (sung in the original Yiddish) to Victor Youngâs âDelilahâ (a flute
feature that closes out the album), Cartwright hits on that undefined yet universal feeling that
goes by different names, from blues to saudade. She quotes the old club joke: âD minor â to you
itâs a key, to me itâs living.â The themes can be outright sad: young women scorned, for instance,
in the Ladino âAlta Va La Lunaâ (âhigh goes the moonâ) and the Yiddish tango âIkh Hob Dikh Tsufil
Libâ (âI have too much love for youâ). Yet redemptive hope can always peek through the clouds.
âThe two parts of âIkh Hobâ are really different,â Cartwright observes. âThe verse tells the story
of being left at the altar, and then in the tango part, sheâs happy despite it all in her dreams,
saying, âI canât hate you, the love I have for you gives me pleasure rather than pain.â I think
thatâs great.â Yes, there are Jewish tangos, and hand it to Cartwright for digging them up. She
also highlights the tango tradition with âEl DĂa Que Me Quierasâ by Carlos Gardel, the Argentine
legend lost in a plane crash in 1935. âFor my doctorate I did research on how the new tango came
out of the old, so Iâve been interested in Gardel for 10 or 15 years,â Cartwright says. âThis is a
standard that jazz musicians in Argentina would do. Itâs a tremendously romantic song â a curious
little glowworm nests in her loverâs hairâŠ. Here in San Antonio weâre a majority Latino city, so
the audience loves it.â
Of course, no South American jazz journey would be complete without Brazil. Cartwright includes the
Jobim staples âTristeâ and âChega de Saudadeâ and pointedly steers clear of the English lyrics that
are often used. âThe lyrics by Jobim and Vinicius de Moraes capture something much more,â she
argues. âThatâs a beef I have â in English theyâre fourth- rate lyrics, but theyâre first-rate in
Portuguese. So why not sing them that way?â Another famous bossa, âEstate,â comes to us from Italy:
âThink Nino Rota,â Cartwright says of the general vibe. âItalian bossas are more surreal, theyâre
once more removed.â French is Cartwrightâs strongest language besides English â she lived in
Lebanon for a year as a teen â and so âSous Le Ciel de Parisâ and âQue Reste-t-il De Nos Amoursâ
have a natural, homey quality. âKevin and Rich tore it up,â Cartwright enthuses, referring to the
sax-drum breakdown (her idea) on the former. Who knows if this bright waltz was on Kenny Dorhamâs
mind when he wrote âBlue Bossa,â but the passing melodic resemblance is there. Like the Brazilian
tunes, the Charles Trenet number, better known to Americans as âI Wish You Love,â has a far greater
impact in its original language. âIn French,â Cartwright notes, âitâs about what happened to our
youth, what happened to those stolen kisses and trysts in little villages, and your hair blowing in
the wind, what happened? Itâs all part of our past now. Thatâs totally different than âI Wish You
Love,â which is sappy by comparison.â
Ultimately, Tales and Tongues is about musical openness, about jazzâs particular way of drawing in
the world and still remaining unmistakably itself. Jazz history is rife with artists whoâve
embodied that ideal in their work, and this musician/scholar, from her haven down in Texas, is
doing that history proud. As the saying (sort of) goes, you can take Cartwright out of New York,
but you canât take New York and its restless global mindset out of Cartwright.
David R. Adler January 2011