Home » Jazz Articles » Album Review » Sheila Jordan: Live At Mezzrow

Sheila Jordan: Live At Mezzrow

By Pierre Giroux
July 16, 2022
View read count

Sheila Jordan

vocals
1928 - 2025

" data-original-title="" title="">Sheila Jordan is a living jazz legend. Since coming to New York City in 1950 at the encouragement of

" data-original-title="" title="">Charlie Parker, she is one of, if not the last, living link to a time and a place in the jazz world that is the subject of hagiography, myth and occasionally reality. With a voice that is uniquely her own, it is possible that in the course of a single song interpretation, Jordan's voice can sound morose and honeyed, supple and compelling, along with her usual spontaneity. Over the course of her long career, there is very little she has not seen, and probably more than she cares to remember.

The session Live At Mezzrow was recorded on October 25, 2021 at the New York jazz club, with Jordan accompanied by the always imaginative pianist

Alan Broadbent

piano
b.1947

" data-original-title="" title="">Alan Broadbent and her bassist of choice,

Harvie S

bass, acoustic
b.1948

" data-original-title="" title="">Harvie S. The live session covers standards from the Great American Songbook as well as a couple of bop oriented songs. Additionally the duo of Broadbent and Harvie S are given space to do their thing on

Cole Porter

composer / conductor
1891 - 1964

" data-original-title="" title="">Cole Porter's " What Is This Thing Called Love " and

Miles Davis

trumpet
1926 - 1991

" data-original-title="" title="">Miles Davis's "Blue In Green."

Jordan begins this recital with the

Abbey Lincoln

vocals
1930 - 2010

" data-original-title="" title="">Abbey Lincoln number "Bird Alone." That tune along with "The Bird & Confirmation" are gifts that just keep on giving as she delivers on that cross section of vocal skills from ballad intensity to scat that is swinging and sturdy. The songbook standards cover readily recognizable numbers starting with the Ray Noble composition "The Touch Of Your Lips." This begins with the little heard opening verse, Jordan then swings into a run through of the melody, before scatting effortlessly.

The Hoagy Carmichael composition "Baltimore Oriole," although perhaps not an American standard, has some interesting quirky lyrics such as: "Baltimore Oriole/ Took a look at the mercury, forty below/ No life for a lady/ To be draggin' her feathers around in the snow." These are a perfect fit for Jordan as she can imbue them with her unique vocal style and interpretation. Although uncredited on the liner notes, this number segues to

Cole Porter

composer / conductor
1891 - 1964

" data-original-title="" title="">Cole Porter's "I Concentrate On You" on which she delivers a wonderfully fresh reading.

The closing track "Lucky To Be Me" is a composition by Green/Comden/Bernstein written for the 1944 Broadway musical . After a regular run through of the lyrics, Jordan closes out the session with musical acknowledgement of the fine work of Broadbent and Harvie S, which is a fitting ending to a special evening.

Learn more about our star rating system

Track Listing

Bird Alone; The Touch of Your Lips; What Is This Thing Called Love; The Bird & Confirmation; Look for the Silver Lining; Falling in Love with Love; Baltimore Oriole; Blue in Green; Autumn in New York; Lucky to Be Me.

Personnel

Sheila Jordan

vocals

Alan Broadbent

piano

Harvie S

bass, acoustic

Album information

Title: Live at Mezzrow | Year Released: 2022 | Record Label: Cellar Music Group

PREVIOUS / NEXT

Ljubljana Jazz Festival 2022
< Previous

July 2022: Love Of The Tiger
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.