Jazz The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/pl/jazz/3938.html Fri, 01 Jul 2022 01:19:42 +0000 Joomla! 1.5 - Open Source Content Management pl-pl Beata Pater - Fire Dance (2017) http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/21462-beata-pater-fire-dance-2017.html http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/21462-beata-pater-fire-dance-2017.html Beata Pater - Fire Dance (2017)

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01 – Curse Of The Locust
02 – Daylight Savings
03 – Sand Dunes
04 – Harvest Season
05 – Fire Dance
06 – The Princess
07 – Round Dance
08 – Flash Back
09 – The Quest
10 – Reaping Spell
11 – Ritual

Beata Pater - Vocals
Scott Collard - Keyboards
Aaron Germain - Bass
Alan Hall - Drums
Aaron Lington - Sax (Baritone)
Sam Newsome - Sax (Soprano)
Brian Rice - Percussion
Anton Schwartz - Sax (Tenor)


Beata Pater’s first five albums could be called ‘typical’ vocal jazz albums, as they featured the usual mix of standards and originals. That’s not to say her vocal approach has not been inspired, instead, she has received high marks for her flexible and fluid style, but no previous album she has made could prepare her followers for her latest, “Fire Dance”. On this new one, Pater employed Alex Danson to write eleven new originals, which Pater then arranged for multiple wordless vocal overdubs supported by a saxophone trio and a four piece electric rhythm section. The end result is a sort of modern big band made up mostly of Pater’s voice multi-tracked up to sixteen times on some cuts. The multi-tracked vocals sometimes have a classic vocal jazz ensemble sound that may remind some of The Swingle Singers or Manhattan Transfer, while the overdubbed wordless sounds may remind some of Bobby McFerrin, but for much of “Fire Dance“, Pater has crafted a sound that is unique to this album.

Musically this album pulls from a variety of styles including modern RnB, post bop and fusion from the Middle East, North Africa, and Eastern Europe. The end result is sometimes similar to Weather Report in the late 70s, or any of Joe Zawinul’s bands since WR. Imagine the Swingle Singers covering classic Weather Report material and you might have a clue as to what is going on here. Along with Pater’s lead vocals, the saxophonists occasionally take short solos, and even exchange in free three way interplay on a couple cuts.

The make or break on here is Pater’s approach to wordless vocals. No doubt this was a very risky record to make, many have a right to fear what an album based around wordless vocals might sound like, but “Fire Dance” is a success due to a very careful use of vocal sounds that never become annoying or embarrassing. Pater is also careful to never overuse the so-called ‘scatting’ technique, a decision that saves this album from potential indulgence. Instead, all of the multi-tracked vocals on here are carefully arranged, much like a complex big band chart. Top tracks include two beautifully abstract numbers that appear in the middle of the CD, title track “Fire Dance” and “The Princess”. Both feature soaring vocals that recall a pre-Renaissance European style, as well as a classic Middle Eastern sound. --- jazzmusicarchives.com


This is the third album I’ve heard by vocalist Beata Pater, and it is a change from the Spartan “Golden Lady” or fusiony “Red,” the clever lady takes her wordless approach and delivers a mix of CTI soul jazz and toe tapping funk.

At times she sings by herself, and other moments she’ll multi-track, making other worldly yet accessible sounds as on the exciting “Reaping Spell” where she comes across like a vocal horn section, while on “Round Dance” she takes a Headhunter groove and creates sounds that mixes the swoop of Sarah Vaughan with the squeal of Ella Fitzgerald.

The team of Sam Newsome/ss, Anton Schwartz/ts, Aaron Lington/bs with Scott Collard/key, Aaron Germain/b, Alan Hall,dr and Brian Rice/perc serve a perfect blend of 70s soul stew for Pater’s trumpet tones on “Fire Dance” or a tour de force visceral gumbo of voices on “Ritual.” This lady takes the human sound to a new level, making ladies of the cabaret crowd sounding anachronistic . Wonderful! When’s she hitting LA? --- George W. Harris, jazzweekly.com

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administration@theblues-thatjazz.com (bluesever) Beata Pater Sun, 16 Apr 2017 11:21:53 +0000
Beata Pater - Golden Lady (2013) http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/14966-beata-pater-golden-lady-2013.html http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/14966-beata-pater-golden-lady-2013.html Beata Pater - Golden Lady (2013)

01. Wild Is the Wind
02. The Day It Rained
03. Turned to Blue
04. Save Your Love for Me
05. I Don't Remember Ever Growing Up
06. I Live to Love You
07. This Is All I Ask
08. Golden Lady
09. If You Went Away
10. Someone to Light Up My Life
11. A Little Tear

Beata Pater – vocals
Hiromu Aoki – piano
Buca Necak – double bass


This is an album created by a uniquely formed jazz trio whose artistic chemistry surpasses cultural distinctions, led by vocalist Beata Pater whose international jazz career earned her a CBS/Sony recording contract during her ten years in Japan.

It was twenty-five years ago on one of the rare day’s that Beata wasn’t performing or traveling Japan that she serendipitously met pianist Hiromu Aoki. Arduously searching for the right pianist to complete her trio – after finding Serbian-born acoustic Buca Necak – she decided to visit a jazz club in her hometown of Yokohama. It was here that Beata heard a performance by pianist Hiromu Aoki for the very first time. “Immediately I knew he was ‘the one,” Beata recalls. Instantly drawn to the pianist, she introduced herself after the performance, eagerly convincing him to take the hour’s drive with her into Tokyo to hear the acoustic bass player perform, in spite of them being strangers. After Aoki heard Buca’s performance, they instantly fell in love with each other’s , artistry, as all three perfectly clicked. “Trying to form a band with the (right) chemistry where everyone’s ‘on purpose’,” as Beata explains, “is difficult and contingent on musicianship and style.” That was the night this musical partnership began, continuing to this day - their musical acquaintance over twenty-five years is a natural connection that ignites each time they perform. --- beatapater.com

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administration@theblues-thatjazz.com (bluesever) Beata Pater Sun, 20 Oct 2013 16:04:58 +0000
Beata Pater - Tet (2019) http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/26040-beata-pater-tet-2019.html http://www.theblues-thatjazz.com/pl/jazz/3938-beata-pater/26040-beata-pater-tet-2019.html Beata Pater - Tet (2019)

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1 	Little Sunflower 	5:22
2 	Lazy Afternoon 	4:14
3 	I Feel You 	4:31
4 	Crystal Silence 	4:33
5 	Old Devil Moon 	4:38
6 	Invitation 	3:50
7 	The Contessa 	5:07
8 	Strays 	4:50
9 	Ode To Max 	4:13

Beata Pater - vocal
Aoki Hiromu - piano
Dan Feiszli - bass
Brynn Albanese - violin
Emily Lanzone - violin
Peter Jandula-Hudson - viola
Barbara Spencer - cello
Steffen Kuehn - trumpet/flugelhorn
John Gove - trombone
Meredith Brown - french horn
Aaron Lington - bass clarinet/alto flute


“Pater sings with rare degrees of sensitivity, intelligence and honest emotion. She often achieves an absolutely otherworldly level of beauty in her performances. Her vocals are silky, sensual and surprising…. This is an album that will totally transport you."

Originally from Poland and now based in Southern California, Beata Pater studied classical violin before finding her milieu in jazz vocals. Her violin mastery may in some ways inform her extraordinary vocal style. Pater sings with rare degrees of sensitivity, intelligence and honest emotion. She often achieves an absolutely otherworldly level of beauty in her performances. Her vocals are silky, sensual and surprising. This is Pater's ninth album and "Tet" is the Hebrew alphabet's ninth letter and has the numeric value of 9. According to Pater, it's also a symbol of creativity. And creativity has certainly found fruition in this adventurous album (produced by Pater). Whatever sort of material she's interpreting, Pater uses her vision and personality to transform each number into something uniquely her own. She's continually finding something unexpected, yet completely right, in terms of the vocal nuances. Among the outstanding tunes here are Chick Corea's "Crystal Silence," Freddie Hubbard's "Little Sunflower," Bill Contos' "I Feel You," the standards "Old Devil Moon" and "Lazy Afternoon," plus three songs penned Pater's friend Alan Chip White. The arrangements -- primarily by Pater and pianist Hiromu Aoki, with string arrangements by Alex Danson and wind and brass by Aaron Lington -- are impeccably tasteful, as is the instrumental work by the 18-piece ensemble. They perfectly complement Pater's magical vocals. This is an album that will totally transport you. ---Paul Freeman, beatapater.com

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administration@theblues-thatjazz.com (bluesever) Beata Pater Sun, 27 Oct 2019 15:13:06 +0000