1. Straight Ahead
2. When Malindy Sings
3. In the Red
4. Blue Monk
5. Left Alone
6. African Lady
7. Retribution

Abbey Lincoln - vocals
Coleman Hawkins, Walter Benton - tenor saxophone
Booker Little - trumpet
Julian Priester - trombone
Eric Dolphy - reeds
Mal Waldron - piano
Art Davis - bass
Max Roach - drums
Roger Sanders, Robert Whitley – congas

Reissued several times since it originally came out on a Candid LP, this is one of Abbey Lincoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins (who takes a memorable solo on "Blue Monk"), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron, and drummer Max Roach. Highpoints include "When Malindy Sings," "Blue Monk," Billie Holiday's "Left Alone," and "African Lady." --Scott Yanow, Rovi

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1. Bird Alone
2. I'm in Love
3. You Gotta Pay the Band
4. Brother, Can You Spare a Dime?
5. You Made Me Funny
6. And How I Hoped for Your Love
7. When I'm Called Home
8. Summer Wishes, Winter Dreams
9. Up Jumped Spring
10. A Time for Love

Abbey Lincoln - vocals
Stan Getz - tenor saxophone
Hank Jones - piano
Charlie Haden - bass
Mark Johnson - drums
Maxine Roach – viola

Stan Getz is featured on one of his final recordings on this excellent Abbey Lincoln CD; Getz's cool tenor fits in very well with Lincoln's voice, making one wish that they had met up previously. With pianist Hank Jones, bassist Charlie Haden, drummer Mark Johnson, and (on two songs) Maxine Roach's viola completing the group, it is not surprising that Lincoln sounds typically inspired. Actually, her version of "Brother, Can You Spare a Dime?" is a bit of a misfire with its dated lyrics (which should have been modified and altered to fit a female). However, "Bird Alone," Freddie Hubbard's "Up Jumped Spring" (given lyrics by Lincoln), and five of her originals more than compensate. Recommended. ---Scott Yanow, Rovi

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01. Blue Monk 5:11 
02. Throw It Away 5:17 
03. And It’s Supposed To Be Love 4:45
04. Should’ve Been 5:26 
05. The World Is Falling Down 3:38 
06. Bird Alone 4:53 
07. Down Here Below 6:30 
08. The Music Is The Magic 3:51        play
09. Learning How To Listen 4:35 
10. The Merry Dancer 6:27 
11. Love Has Gone Away 4:38 
12. Being Me 3:55                      play

Personnel:
Abbey Lincoln- Vocals 
Larry Campbell- Acoustic guitar, Electric guitar, National guitar, Pedal steel, Mandolin 
Scott Colley- Bass
Gil Goldstein- Accordion 
Dave Eggar- Cello 
Shawn Pelton- Drums

For those who expect their jazz singers to possess a unique timbre, the departure of Shirley Horn passes the “greatest-living-vocalist” crown to the reclusive Abbey Lincoln. Her voice, while unmistakeably personal, carries the same bluesy texture and total emotional commitment of a royal line going back to Billie Holiday and beyond.

She’s also a fine composer whose bittersweet songs have a strong identity. Warmly backed by a group featuring cellist Dave Eggar, accordionist Gil Goldstein and Larry Campbell on mandolin and various guitars, she sounds contentedly sad.

The first track, Thelonious Monk’s “Blue Monk” (lyrics by Lincoln) is the only historically jazz track on this album but it falls in nicely with the folksy country blues exploration of emotion of the rest of the album. “Should’ve Been” is real class while “And It’s Supposed To Be Love” is a happy-go-Norah Jones time turn. There’s definitely some voodoo mambo going on with “The Music Is The Magic”. The final track, “Being Me” shows an affirmation of an ending which is a bit of a cliché but that’s easy enough to overlook bearing in mind the quality of the rest of the CD.

Larry Campbell’s guitar work and Gil Goldstein’s accordion really set the scene for this uplifting set for the quiet times in your life, but Abbey is the real star here.

At almost 77 years of age Abbey Lincoln has been composing, writing and/or performing for almost sixty years, and Abbey Sings Abbey is a stunning collection of some of the singer's most memorable works.

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01 The Music Is The Magic (Abbey Lincoln) 7:34
02 Bird Alone (Abbey Lincoln) 6:28
03 Throw It Away (Abbey Lincoln) 7:23
04 How High The Moon (Nancy Hamilton/W Morgan Lewis) 7:16
05 Brother Can You Spare A Dime (EY Harburg/Jay Gorney) 5:27
06 Introducing The Band 0:38
07 Spring Will Be A Little Late This Year (Frank Loesser) 5:04     play
08 Wholly Earth (Abbey Lincoln) 10:49

Line Up:
Abbey Lincoln- Vocals
Rodney Kendrick- Piano
Michael Bowie- Bass
Yoron Israel- Drums

Abbey Lincoln (born Anna Marie Wooldridge on August 6, 1930, Chicago, Illinois – died August 14, 2010, Manhattan, New York), was a jazz vocalist, songwriter, and actress. Her first album, Abbey Lincoln’s Affair, A Story of a Girl in Love was released in 1956. Also that year Lincoln starred in the film The Girl Can’t Help It, for which she famously wore a dress worn by Marilyn Monroe. Lincoln sang on the 1960s landmark jazz civil rights recording, We Insist! - Freedom Now Suite in 1960 by jazz musician and Lincolns husband from 1962-1970, Max Roach. Especially since this album, Abbey Lincoln was connected to the political fight against racism in the United States. She co-starred with Sidney Poitier and Beau Bridges in 1968’s For Love of Ivy and received a 1969 Golden Globe nomination for her appearance in the film. She also starred in the 1990 Spike Lee movie Mo’ Better Blues.

In 2003, she received the National Endowment for the Arts NEA Jazz Masters Award. Lincoln died on August 14, 2010 in Manhattan at the age of 80. Although no official cause of death was given, Lincoln had suffered deteriorating health following open heart surgery in 2007. She passed away in a Manhattan nursing home. ---last.fm

Gaby Woolridge, bo takie jest jej prawdziwe imię i nazwisko, zaczęła pojawiać się przed publicznością jako wokalistka na początku lat 50. Pracowała w chicagowskich klubach pod różnymi pseudonimami (m.in. jako Anna Marie i Gaby Lee). Pod własnym nazwiskiem wystąpiła w połowie lat 50. w klubie Moulin Rouge w Los Angeles. Wtedy dokonała także pierwszych nagrań płytowych z Bennym Carterem. Koncertowała też z muzykami bopowymi, jak Thelonious Monk, Mal Waldron i Max Roach.

Zaczęła też sama pisać teksty i komponować, manifestując często w swych utworach problemy związane z przebudzaniem się świadomości czarnej społeczności USA. Współpracowała z Roachem (od 1962 r. jej mężem) przy wielu ważnych dla jazzu nagraniach (jak "Freedom Now Suite" i "Straight Ahead").

W latach 60. rozpoczęła karierę aktorską, pojawiając się w filmach "Nothing But A Man" (1964) i "For Love Of Ivy" (1968). Pod wpływem impresji związanych z pobytem w Afryce (w połowie lat 70.) przyjęła nowe nazwisko Aminata Moseka. Jej pełen emocji głos sprawiał, że zawsze nawiązywała doskonały kontakt z publicznością. Jej styl wokalny obejmuje ballady wykonywane przy ogromnym natężeniu emocjonalnym. Pod koniec lat 80. artystka ponownie znalazła się w kręgu najważniejszych wokalistek współczesnego jazzu, a płyty, które zrealizowała z udziałem wybitnych jazzmanów (Dave Liebman, Oliver Lake, Steve Coleman, Charlie Haden, Roy Hargrove, Kenny Barron, Pat Metheny, Stan Getz, Hank Jones, Clark Terry, Grady Tate, Stanley Turrentine, Archie Shepp), umiejscowiły jej sztukę wokalną wśród najwybitniejszych osiągnięć jazzu ostatnich dziesięcioleci.

W 2000 roku wystapiła pierwszy raz w Polsce podczas festiwalu Ery Jazzu w Poznaniu. Rok później podczas Jazz Jamboree.

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1 You and me love
2 Natas (playground)
3 Dorian (the man with the magic)
4 Africa (by john coltrane)
5 People in me
6 Living room
7 Kohjoh-no-tsuki
8 Naturally

Musicians:
Abbey Lincol – vocals
David Liebman - Soprano Saxophone, Tenor Saxophone, Flute
Hiromasa Suzuki – piano
Kunimitsu Inaba – bass
Al Foster – drums
James Mtume – congas

The music on this out-of-print LP from the defunct Inner City label was recorded in Japan and has been released by several other record companies since. Abbey Lincoln's first record in a decade, the set features the very original singer joined by a couple of Japanese players (pianist Hiromasa Suzuki and bassist Kunimitsu Inaba) plus drummer Al Foster, percussionist Mtume and the horns (soprano, tenor and flute) of Dave Liebman. Abbey Lincoln wrote or co-composed all eight selections, best-known of which is "People in Me." Every Abbey Lincoln recording is well worth picking up for her sincerity, credibility and talent make each of her dates memorable in their own way. --- Scott Yanow, All Music Guide

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01. My Man
02. Lost in the Stars
03. When a Woman Loves a Man
04. Let Up
05. When Malindy Sings
06. Strong Man
07. Come Sunday
08. Brother, Where Are You?
09. I Must Have That Man
10. Happiness Is a Thing Called Joe
11. Tender as a Rose
12. Laugh, Clown, Laugh
13. Softly as in a Morning Sunrise
14. Left Alone
15. Straight Ahead
16. That’s Him
17. Thursday’s Child
18. Blue Monk
19. Retribution
20. Porgy
21. Afro Blue
22. Don’t Explain
23. Lonely House
24. Ain’t Nobody’s Business If I Do

As with her hero Billie Holiday, Abbey Lincoln always meant the lyrics she sang. A dramatic performer whose interpretations were full of truth and insight, Lincoln actually began her career as a fairly lightweight supper-club singer. She went through several name changes (including Anna Marie, Gaby Lee, and Gaby Woolridge) before settling on Abbey Lincoln. She recorded with Benny Carter in 1956 and performed a number in the 1957 Hollywood film The Girl Can't Help It. Lincoln's first of three albums for Riverside (1957-1959) had Max Roach on drums and he was a major influence on her; she began to be choosy about the songs she sang and to give words the proper emotional intensity. Lincoln held her own on her early dates with such sidemen as Kenny Dorham, Sonny Rollins, Wynton Kelly, Curtis Fuller, and Benny Golson. She was quite memorable on Roach's Freedom Now Suite, showing some very uninhibited emotions. Lincoln's Candid date Straight Ahead (1961) had among its players Roach, Booker Little, Eric Dolphy, and Coleman Hawkins, and she made some important appearances on Roach's Impulse! album Percussion Bitter Suite.

Abbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder to get work in jazz due to the political nature of some of her music) became involved in acting and did not record as a leader during 1962-1972. She finally recorded for Inner City in 1973 and gradually became more active in jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime, and she recorded several excellent sets for Verve in the 1990s. In the following years, she released a handful of recordings including Over the Years in 2000; It's Me in 2003; and her final recording, Abbey Sings Abbey, in 2007. Abbey Lincoln died in New York City on August 14, 2010; she was 80 years old. Because she put so much thought into each of her recordings, it is not an understatement to say that every set she issued is well worth owning. ---Scott Yanow, Rovi

Gaby Woolridge, bo takie jest jej prawdziwe imię i nazwisko, zaczęła pojawiać się przed publicznością jako wokalistka na początku lat 50. Pracowała w chicagowskich klubach pod różnymi pseudonimami (m.in. jako Anna Marie i Gaby Lee). Pod własnym nazwiskiem wystąpiła w połowie lat 50. w klubie Moulin Rouge w Los Angeles. Wtedy dokonała także pierwszych nagrań płytowych z Bennym Carterem. Koncertowała też z muzykami bopowymi, jak Thelonious Monk, Mal Waldron i Max Roach.

Zaczęła też sama pisać teksty i komponować, manifestując często w swych utworach problemy związane z przebudzaniem się świadomości czarnej społeczności USA. Współpracowała z Roachem (od 1962 r. jej mężem) przy wielu ważnych dla jazzu nagraniach (jak "Freedom Now Suite" i "Straight Ahead").

W latach 60. rozpoczęła karierę aktorską, pojawiając się w filmach "Nothing But A Man" (1964) i "For Love Of Ivy" (1968). Pod wpływem impresji związanych z pobytem w Afryce (w połowie lat 70.) przyjęła nowe nazwisko Aminata Moseka. Jej pełen emocji głos sprawiał, że zawsze nawiązywała doskonały kontakt z publicznością. Jej styl wokalny obejmuje ballady wykonywane przy ogromnym natężeniu emocjonalnym. Pod koniec lat 80. artystka ponownie znalazła się w kręgu najważniejszych wokalistek współczesnego jazzu, a płyty, które zrealizowała z udziałem wybitnych jazzmanów (Dave Liebman, Oliver Lake, Steve Coleman, Charlie Haden, Roy Hargrove, Kenny Barron, Pat Metheny, Stan Getz, Hank Jones, Clark Terry, Grady Tate, Stanley Turrentine, Archie Shepp), umiejscowiły jej sztukę wokalną wśród najwybitniejszych osiągnięć jazzu ostatnich dziesięcioleci.

W 2000 roku wystapiła pierwszy raz w Polsce podczas festiwalu Ery Jazzu w Poznaniu. Rok później podczas Jazz Jamboree. --- diapazon.pl

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01. And It’s Supposed To Be Love 5:13     play
02. Midnight Sun 7:23
03. Wholly Earth 6:01
04. Look To The Star 6:42
05. Another World 9:13
06. Conversation With A Baby 6:37
07. If I Only Had A Brain 5:32               play
08. Another Time, Another Place 7:16
09. Caged Bird 7:02
10. Learning How To Listen 6:29

Personnel:
Abbey Lincoln- Vocals
Bobby Hutcherson- Vibraphone, Marimba
Marc Cary- Piano
James Hurt- Piano
John Ormond- Bass
Michael Bowie- Bass
Alvester Garnett- Drums
Nicholas Payton- Trumpet, Flugelhorn
Daniel Moreno- Percussion
Maggie Brown- Vocals

Undoubtedly, Abbey Lincoln is one of the most intelligent, sophisticated singers out there. Everyone, it seems, has noted her way with lyrics a commitment to the defiance, wry humor, or lovelessness of the songs’ emotional world that surely co-exists with her acting skills. Very few people read a lyric as well as Abbey.

On a purely musical level, Abbey’s voice is an eccentric and unusual instrument. When matched with the right material, the results are sublime. However, unspectacular accompaniment, arrangements, or lyrics draw the listener’s attention to Abbey’s vocal shortcomings. Although Abbey does not commit some of the egregious lapses in intonation that mar volume two of her Billie Holiday tribute, “Wholly Earth” does not have the consistent excellence of some of her other albums. Two of those better albums are: “Abbey is Blue” (a 50s collaboration with Max Roach) and “When there is Love” (good songs sung well with sympathetic pianist Hank Jones as only accompaniament).

“Wholly Earth” is somewhere between one-half and two-thirds of a great album. Her original songs fare worst: “Conversation With a Baby” features her musings about the celestial origins of babies, but remains entirely earthbound because its descending melody, harmonic structure, and solos are uninventive. Yet, “And It’s Supposed to Be Love” and the title track show that Abbey and the band can compensate for some unoriginality in lyric, melody, or harmony with a groove that highlights the musicians’ unity of purpose. “Another Time, Another Place” and “If I Only Had a Brain” also deserve special mention as well-performed standards. I think that reviewers and listeners should stop forgiving Abbey’s faults in intonation, songwriting, and melodic choices (e.g. a screechy ending that mars a well-performed title track) and push her to exhibit what the best of these tracks show. Five stars? A bit much. Save that for consistent and truly outstanding albums. Perhaps it’s time that Verve released Abbey from (or encouraged her to exceed) the pattern of ballads and originals performed with a piano-led trio that most of her Verves follow. By Miles P. Grier.

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