Abbey Lincoln - You Gotta Pay the Band (10 tracks) +Album Reviews

A good introduction to Ms. Lincoln

M. Anderson | Salt Lake City, UT | 08/25/2000

(3 out of 5 stars)

"I'd really like to give this record 3 ½ stars. The reason is that although there are some really good jazz songs here, like "Bird Alone", "I'm In Love", and "And How I Hoped For Your Love", there are a couple of clunkers, notably "You Made Me Funny" and "When I'm Called Home". That said, there are a few other things you should know. The band, for instance, is phenomenal, and the tenor sax of Stan Getz is perfect. The fact that there are only 10 songs made me feel a little cheated, certainly they had room for 12 or 14. And Ms. Lincoln is well into her 60s; you can hear the limitations that age has brought to her voice range."

Passionate, personal, and professional.

Mary Whipple | New England | 08/04/2005

(4 out of 5 stars)

"A group of consummate pros works here with Abbey Lincoln to produce a jazz album that is polished but sometimes playful, and emotional but never careless, with six songs written by Lincoln. Stan Getz on sax is at the top of his form in what turned out to be his last recorded album. Hank Jones on piano adds a sense of romance and sometimes mystery with his frequent (wonderful) solos, and Charlie Haden on bass and Mark Johnson on drums provide the beat. On two songs, "Bird Alone" and "A Time for Love," Maxine Roach adds a haunting viola.

Lincoln's voice, clearly influenced by Billie Holiday and Bessie Smith, may be an acquired taste--reedy, sometimes a little bit "blatty," and lacking sweetness--but she is an actress with a song, and her passion and oneness with her lyrics give her a unique sound that enables her to convey the essence of the music, becoming an interpreter and poet rather than simply a singer.

"Bird Alone" is a song of mystery, "Brother, Can You Spare a Dime," a song of sorrow, and "You Made Me Funny," a "talk-story"--an eerily spoken Lincoln soliloquy, full of contrasts. With "And How I Hoped for Your Love," she branches out into a bossa nova beat, while the magnificent "When I'm Called Home" is a wrenching ballad of loss and missed opportunities. Lincoln sings many of these songs in a minor key, while the solos by Getz and Hank Jones are often more upbeat and bring the music into happier realms in major keys. With a timbre the same as that of Getz's sax, Lincoln's voice becomes one with the sounds of her musicians and allows all of them to soar. n Mary Whipple

"

A superb Stan Getz record

Rolf Aderhold | Hannover, Germany | 09/08/2001

(5 out of 5 stars)

"This is Abbey Lincoln's record, sure enough. She wrote most of the songs, and she sings brilliantly on many of them. Her voice is dark, rich, and somewhat melancholic, and yes, her singing has certain edges, but that fits the contents of her songs. So, accompanied by Hank Jones, who also excels on this date, Charlie Haden and Marc Johnson, this would be a good Abbey Lincoln album. However, that's not why I bought the record. It is simply that this is one of the best records Stan Getz ever made. It was his last studio date, and his playing is heartrendingly beautiful (and for once, that's not a commonplace). In contrast to the live date "People Time", he was still in full command of his instrument, and whenever he starts playing, he elevates each song to a level of exellence that Ms. Lincoln occasionally fails to reach. The sad, but beautiful "Bird Alone", the lively "I'm in Love" and the Samba-like "And How I Hoped For Your Love" are all favourites of mine. They come in as winners due to the beauty of Stan Getz's phrasing and his well-known, incomparably smooth sound. He never consciously tried to outshine Ms. Lincoln, though. He did not force himself into the foreground, but was simply the best musician on the date. For his presence alone, I would rate this record with six stars! Get it!"

The band got paid!

Rolf Aderhold | 07/20/2000

(5 out of 5 stars)

"I discovered the music of Abbey Lincoln about four years ago and I've been a fan of hers ever since. Being a lover of jazz vocals, I had always been aware of who she was but it took a while before I got to hear her music. One night--out of the blue--I saw her perform on TV and her performance sent me into a mysterious state of daydreaming. It was her world I had just entered. She was singing "Who Used To Dance" and I never forgot the depth of the expression on her face. Her gaze was increadibly haunting; as though a story was unravelling before her very eyes but only her could envision it. Whenever I listen to her music, this gaze is the first image that comes back to me. Miss Lincoln has insisted on the fact that she thinks of jazz as a form of storytelling; and I must agree to that. If jazz--or any other music worth listening to--were not about telling stories, then the world would have never paid it any attention in the first place. I recently purchased "You Gotta Pay The Band" and it only took one listening for me to believe that this was some of her best. For me, the most poignant song of the set is her rendition of "Brother, can you spare a dime?" The text alone is disturbing enough but with Abbie's voice (and exceptional band), it is an even more ravaging lament. As beautiful as this piece might be, it remains nevertheless the sound of a man's atrocious, undying pain. The title song and "Bird Alone" are also two of my favorites. Of course, here, Miss Lincoln is backed up by phenomenal musicians. Stan Getz, as always, worked wonders at the sax and so did Hank Jones ( at the piano). The ensemble works so well overall that this set is miracle in itself. It is simply flawless. If you are not familiar with Abbie Lincoln's body of work, I think it would be safe to start with this beautiful album."

Essential information

dhanyah | Coimbatore, India | 01/07/2000

(4 out of 5 stars)

"Sorry, I am not in order but I don't know where to say this because I am not a great computer chap. I am a lover of jazz music and have, what I believe to be, a great collection. Amazon.com is doing a wonderful job for the jazz lovers. But I believe the NAMES OF THE ACCOPANISTS MUST BE FEATURED PROMINENETLY WITH THE APPEARANCE OF EVERY CD WITH BUYING INFORMATION. It should not appear incidentally in the reviews. We all know how this information is absolutely indispensable for judging jazz music. Imagine a Mccoy Tyner or Tony Williams not being mentioned. I sincerely believe that, however humble the accomapnists, they should figure in the CD information importantly. Then only meaningful critique can be attempted. Thanks.Krishnamoorthy, Advocate"

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