Sunday, August 23, 2009

Cain keeps legendary jazz alive with modern clarity

Cindy Cain performs at Ciao during the recording of her new jazz album "Rhythm & Romance." JOHN STANCAVAGE/Tulsa World

By JOHN STANCAVAGE World Business Editor
Published: 8/23/2009 3:28 AM
Last Modified: 8/23/2009 6:03 AM


Related story: Raising cain in a sultry way.

Cindy Cain's new release, "Rhythm & Romance," proves that talent and modern technology can allow local singers to produce a record with all the polish of a major-label jazz project — maybe even more so.

That's because the suits at a label might have messed this one up. But there are no such worries on this self-produced CD.

Cain is on her "A" game, backed by a crackerjack band and recorded in pristine quality by co-producer Hank Charles of Valcour Sound.

With the encouragement of Kathleen Kennedy, proprietor of Brookside's Ciao, Cain recorded the album's 19 tracks in one night last March. With the exception of a brief edit later to fix a flubbed lyric, what you hear on the album is what went down that evening — no overdubs, pitch correction or fake applause.

Cain's strong voice — warm and supple, with a hint of twang — ties together a varied program that includes songs from Cole Porter, the Gershwin brothers, Billie Holiday and Leonard Cohen.

Versions of "No Moon at All," "What Is This Thing Called Love," "Gone With the Wind" and the title track, especially, don't come much better than this.

No matter what the tune, Cain keeps the melody at the forefront, while also giving her backing
players generous room to share the spotlight.

Scott McQuade's keyboards and Gary Linde's reeds, in particular, shine in solos. Miles Ralston contributes a clear tone and tasteful runs on electric guitar, while Jim Bates and Wade Robertson provide plenty of swing on bass and drums, respectively.

"I've always felt I was born out of time," Cain said, explaining why the songs she loves date back as far as the 1920s. "I should have been a flapper and dated a bootlegger."

As long as she's giving us records like this, jazz fans should be thankful that Cain instead is dedicated to keeping that lush sound alive in the present.

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