Patti Austin Albums (16)
'Avant Gershwin'
Release Date 11/21/2006
Tracks 8
Label Rendezvous (Red)
See Album Tracklist and Review
What The Critics Say
A staple of pop, R&B and jazz over the past thirty years, this impossibly versatile singer's 16 album career during that time rolls like a fascinating journey through those genres while also drawing wisdom and inspiration on occasion from The Great American Songbook. Avant Gershwin, Patti Austin's shimmering hour-plus tour de force through both familiar and obscure -- but always intriguing -- selections from the catalog of George & Ira Gershwin, is, for the record, not the first time she's dazzled with their songs. Her 1998 masterpiece The Real Me included "How Long Has This Been Going On?" and "They Can't Take That Away from Me." And her 2002 tribute album For Ella included "Love Is Here to Stay," "But Not for Me" and "The Man I Love." Recorded live before an audience at the Kölner Philharmonic in Köln, and Westfalenpark Dortmund, Germany over two evenings in 2006, Avant Gershwin is in many ways an extension of the Fitzgerald tribute; both find her performing with the vibrant, brassy and swinging backing of the WDR Big Band. Its centerpieces are the "Overture/Gershwin Medley" -- a twelve-minute, moodswinging romp through the big rhythm songs, "Clap Yo' Hands," "Fascinating Rhythm" and "I Got Rhythm" -- and the dramatic 17-minute "Porgy and Bess Medley," which casts Austin as the consummate musical theater performer. The latter begins with a gentle orchestral overture and a tender read of "A Woman Is a Sometime Thing" and a lush twist on the familiar "Summertime" before shifting into full swing mode on "There's a Boat Dat's Leavin' Soon for New York" and back to port for the start of "It Ain't Necessarily So" ahead of a theatrical finish. Beyond right on the money arrangements and Austin's always colorful phrasing, perhaps the most inspired element of the project is her impeccable song choice. Rather than settle for the songs everyone's heard ad nauseum, with the exception of "Swanee," she puts her own stamp on the lovelorn "I'll Build a Stairway to Paradise," the witty and delightful "Who Cares"and "Funny Face," and the heartbreaking "Love Walked In/Love Is Sweeping the Country." "Lady Be Good" provides a rousing, bold and brassy finish, with Austin doing the kind of sizzlin' scat that would do her idol proud. Who could ask for anything more? This CD was nominated for a Grammy award in 2007 for Best Jazz Vocal Album. ~ Jonathan Widran, All Music Guide
What The Critics Say
Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988 she even recorded an album of standards that she tellingly titled The Real Me. For Ella easily could be the sequel to that collection. Austin traveled to Köln, Germany, to record a program of songs associated with Fitzgerald with the WDR Big Band conducted by Patrick Williams. Many of the songs, of course, are just ones Fitzgerald happened to sing but that have broader associations as well, such as George & Ira Gershwin's "Our Love Is Here to Stay" and "The Man I Love," though others, such as "A Tisket a Tasket," inevitably evoke Fitzgerald. Austin does not, for the most part, attempt to sing in Fitzgerald's style, giving listeners her own interpretations that, in Williams' neo-swing arrangements, nevertheless hark back to the 1950s. That's fine for the most part, though the version of "Miss Otis Regrets," which treats it as a gospel performance in the manner of Mahalia Jackson, without the slightest touch of humor, is a misstep. On two occasions, Austin does copy Fitzgerald, re-creating the scat sections of "You'll Have to Swing It (Mr. Paganini)" and "How High the Moon." That obviates the problem of having to compete with Fitzgerald on her greatest improvisational triumphs, but it's a technical achievement of an odd sort. Austin is better off putting her own stamp on the songs; that she does very well. ~ William Ruhlmann, All Music Guide
'On the Way to Love'
Release Date 6/26/2001
Tracks 11
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
After affiliations with CTI (1976-80), Qwest (1981-88), and GRP (1990-1994), Patti Austin, as she passed the age of 50, seemed to have moved permanently from the soul jazz divisions of major labels to independents like Concord Jazz (for whom she made In and Out of Love in 1998) and even more modest recording affiliations (her last album, Street of Dreams, was handled by Platinum Entertainment). It is therefore something of a surprise that she has landed back at Quincy Jones' Warner Bros.-distributed Qwest label for her 15th album, On the Way to Love. It's also good news, since a singer of Austin's talent (and there aren't many of those) deserves the exposure possible through major-label distribution. The question, of course, is what sort of commercial compromises it entails. The answer is that Qwest's vision for Austin, one she seems to endorse enthusiastically, is to take her right back to the kind of quiet storm/adult contemporary/smooth jazz approach that characterized most of her earlier Qwest releases in the 1980s. Paul Brown, Boney James' producer, has been brought in, and, not surprisingly, the saxophonist turns up on "If You Really Need Me Now," a track that also features Austin's old duet partner (and Qwest labelmate) James Ingram. Siedah Garrett, another Qwest stalwart, co-wrote the title song, and Austin herself contributed to the writing of three songs, among them "Love's Been Kind to Me Lately," an attractive pop song that, like many here, may be more welcome on contemporary jazz stations than anywhere else. The songs indulge in street argot here and there, but this is an upscale effort for the most part, music for middle-aged Terry McMillan fans who aren't Waiting to Exhale anymore, but still don't want to work up a sweat. It's not bad, but Austin can do much better. ~ William Ruhlmann, All Music Guide
What The Critics Say
Street of Dreams was designed as a project for Patti Austin to sing her favorite songs, regardless of genre. True, there are a couple of later songs here, usually including two co-written by Vaneese Thomas, but the heart of the album is in interpretations of "The Look of Love," "Street of Dreams," "Someone to Watch Over Me," "'Till There Was You," "I Only Have Eyes for You," "For Once in My Life," and "IGY (What a Beautiful World)." Although the arrangements can get a little too clean and synthesized (much of the album sounds as if it was recorded with DX-7s), Austin is in terrific form throughout, breathing life into songs that have been recorded numerous times. It's a fine latter-day effort from a fine singer. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The veteran sweet-voiced singer's fourth GRP album is perhaps her most musically diverse, covering an ambitious range of material. While each successive album she's recorded over that period has given the versatile entertainer an opportunity to showcase different elements of her artistry, this album gives her the chance to highlight her skills as a vocal stylist and interpreter with few peers. There's the lilting, jazz-inflected title track (an homage to Miles Davis), the reggae-flavored "Captivated," and the poignant ballad "Somebody Make Me Laugh," just for starters. Other standouts include the wistful "Broken Dreams," a bebop finger-snappin' take on Thomas Dolby's zesty "Ability to Swing," and the gospel-flavored "Reach." She saves the best for last, however, with the classical-flavored "Stars in Our Eyes," a gorgeous and haunting look back at a failed relationship with subtle keyboard harmonies by Bob James. Austin can do it all herself, but she enjoys the camaraderie she shares on various cuts with Vesta, Mervyn Warren, Tata Vega, and Phil Perry. ~ Jonathan Widran, All Music Guide
What The Critics Say
Patti Austin, a gifted singer when she gets good material, works in murky waters on this '91 release. There are so many different things offered, from fusion and pop to more mainstream jazz and soul, that the album has no main course or personality. On the other hand, Austin does sing everything well, and GRP has enlisted enough of their session pros to ensure that the musical support is excellent. It's well-played, superbly sung filler. ~ Ron Wynn, All Music Guide
What The Critics Say
With apologies to Dianne Reeves, Patti Austin has always quite simply been the best jack-of-all-genre singers on the planet, crossing effortlessly from jazz to pop and R&B with a voice that's so sweet, rich, and lovely, it can't help but warm the heart. On the heels of her 1988 masterpiece The Real Me, her GRP debut packs a wallop of festive up tempo tunes, lite funk pop, torchy message songs, passionate ballads, and breezy tenderness -- all delivered with a truly Austin-tatious flair. Austin surrounds herself with some of pop jazz's best here, with GRP's 1990 roster well represented: Dave Grusin (whose production is flawless), Don Grusin (with whom she co-wrote the happy "Ooh Wee (The Carnival)"), Deborah Henson-Conant (whose harp adds punch to "In My Dreams"), Lee Ritenour, and Nelson Rangell (whose alto soars on the title cut). But as tantalizing as the music is, it is Austin who gives the collection wings with a powerful voice whose mood she so artfully modulates depending on the feel of the individual tune. Soft and tender on her own composition "In My Life," easy and lilting for "In My Dreams," and full of genuine excitement for "Through the Test of Time" and "Ooh Wee." An added bonus is the Oscar nominated "The Girl Who Used to Be Me," which gives Austin a chance to show her range, even if the tune is a bit schmaltzy. ~ Jonathan Widran, All Music Guide
What The Critics Say
And how! Austin tackles standards such as "Smoke Gets in Your Eyes" and "They Can't Take That Away from Me," and succeeds brilliantly. Her version of Comden, Green, and Bernstein's "I Can Cook, Too" is enough by itself to make this a pick. ~ William Ruhlmann, All Music Guide
