Matti P
For now, Nightcap is the only album of the American vocalist MARILYN SCOTT (b. 1949) that I've listened to, but she's definitely worth further listening. This album was produced by George Duke who naturally plays the piano and keyboards. The other [to me] well known musician is drummer Vinnie Colaiuta, but there's no doubt about the whole Los Angeles -based combo being seasoned top musicians. Guaranteed, the album sounds damn good.
The 8-piece set list favours standards -- although not necessarily the most worn-out ones, on the course of the whole album. Often such orientation towards well-known evergreens feels very tired to me, but Marilyn Scott and the arranger George Duke have brought new spark to familiar songs. For example Irving Berlin's 'Isn't This a Lovely Day' has a rare freshness in it, with a lovely flute participation. Even 'Smile', the heavily circulated Charles Chaplin evergreen, doesn't make me feel I've heard it too many times. Duke's piano in it is so rich, and the vibes are the cherry on top. Hoagy Carmichael's 'Stardust' also works nicely, although I'm not fond of the Toots Thielemans-type harmonica. But admittedly a few more unfamiliar songs would have improved the album.
Sorry, I forgot to deal with Marilyn's vocals. She is an excellent singer with a natural and yet nuanced expression, and her voice is clear, warm and deep. A step towards the likes of Patricia Barber in that matter, although not in that low register.
Marilyn Scott's version of the Jerome Kern standard 'Yesterdays' is sensually playful, not moody like I've heard it sung many times. Again the flute is crucial. The double bass and a guitar also have solo spots. The final piece 'If It's the Last Thing I Do' (Sammy Cahn/Saul Chaplin) wasn't familiar to me. A beautiful jazz ballad with some livelier moments amidst the dreamy slowness.
I'm saving my favourite last. I don't know if 'Here's to Life' is a minor standard, I've heard two versions of it. But boy, I truly fell in love with this passionate and thoughtful performance. Not only Marilyn Scott is at her emotionally deepest here, the detailed arrangement with the great use of dynamics makes the piece so gorgeous it gives me goosebumps. This one really should have ended the whole album!