For her maiden album, Colorado resident
Mary Ann Moore has devised an eclectic play list. There are standards and some clever originals which, in the hands of
Moore, make for a captivating album. Deep-voiced with a mastery of most singing styles combined with an excellent sense of timing and earthy ability to swing,
Moore -- along with her musical confreres -- makes this session a notable, exciting event. Although filled with gems, the
Billie Holiday classic "What a Little Moonlight Can Do" is the centerpiece of the album.
Moore's pulsating delivery kicks off with a feverish, fierce uptempo, with Rich Chiaraluce's tenor moving right along with her.
Moore then segues into a couple of scatting choruses followed by solos from each member of the rhythm section. For intensity, her rendition of "My Foolish Heart" compares very favorably to
Susannah McCorkle's first-rate rendition.
Moore's deep, husky voice, which is perfect for this tune, is set off by a long introduction with Chiaraluce's
Zoot Sims-tailored tenor. Blues lovers won't be disappointed.
Ellyn Rucker's piano simply drips with soulfulness as she leads
Moore through a sweet-toothed "I Want a Little Sugar in My Bowl." Mark Simon's bass gets considerable play here, taking on the role usually reserved for the guitar on blues numbers.
Gerry Mulligan's "Line for Lyons" is dressed up with
Moore-composed lyrics and an offbeat arrangement by the other piano player on this set, Andy Weyl.
Moore further displays her versatility with her rendition of the boppish
Max Roach/
Abbey Lincoln "Living Room," getting significant support from Mark Klagstad's guitar along the way.
Moore's upbeat "Too Close for Comfort" is launched by Paul Romaine's snare drums, with Weyl's piano joining the fray and Klagstad taking the remaining choruses.
Moore personalizes "Autumn Leaves" with her scatting alterations of the lyrics and recalling of "I Wish I Were in Love Again." Then gliding in and out with Romaine's drums, she moves without pause into a pensive "You Must Believe in Spring." Truly a virtuoso performance. What helps this album stand above the ordinary -- in addition to
Moore's voice, diction, and delivery -- is the presence of outstanding musicians. They are in complete accord with
Moore's vocal objectives as together they move through a diverse agenda of songs.
Right Where I Wanna Be is a captivating vehicle for presenting
Mary Ann Moore to the jazz-listening public. ~ Dave Nathan