Download links and information about Blue Skies by Cassandra Wilson. This album was released in 1988 and it belongs to Hip Hop/R&B, Soul, Jazz, Avant Garde Jazz, Contemporary Jazz, Vocal Jazz, Rock, Avant Garde Metal genres. It contains 10 tracks with total duration of 51:04 minutes.
|Genre:||Hip Hop/R&B, Soul, Jazz, Avant Garde Jazz, Contemporary Jazz, Vocal Jazz, Rock, Avant Garde Metal|
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|1.||Shall We Dance?||7:20|
|2.||Polka Dots and Moonbeams||5:46|
|3.||I've Grown Accustomed to His Face||5:15|
|4.||I Didn't Know What Time It Was||4:51|
|5.||Gee Baby Ain't I Good to You||5:04|
|6.||I'm Old Fashioned||3:07|
|8.||My One and Only Love||6:02|
On 1988's Blue Skies, Cassandra Wilson took her first step away from the home she had built with Steve Coleman's M-Base organization. She'd done standards before, all the way back to 1985's Songbook. There are no M-Base players on this JMT set. She fronts a very conventional trio comprised of pianist Mulgrew Miller, drummer Terri Lyne Carrington, and bassist Lonnie Plaxico. The last of these is very significant because it would be Plaxico who directed her very startling and focused transformation when she signed to Blue Note Records in 1993 and released Blue Light 'Til Dawn. The program is pure standard fare, from "Polka Dots and Moonbeams" and "Shall We Dance?" to the title track and Rodgers & Hart's "I Didn't Know It What Time It Was." This cut is the most startling break from the rest in that it is much more forceful and hard-swinging than other readings, and showcases for the first time Wilson's tremendous individuality as a vocalist. There is much of Betty Carter still in her style here, but on this cut, she's pure Wilson, even the scatting comes not from jazz but from the blues of Wilson's Mississippi homeland. Another standout is Carter Burwell's "Sweet Lorraine," which wasn't quite a standard at the time but is quickly becoming one covered by many singers and is delivered in the classic repertoire's lineage. Not a masterpiece, but a really compelling first experiment with the more intimate forms and smaller groups Wilson would employ later on.