Justin Time /

Back

Fontella Bass

Travellin'

Label: Justin Time | Jazz | April 10, 2001

Format

UPC

Order #

Unit Price

Credits

Fontella Bass
background vocals (on track 04) , lead vocal (on tracks 02, 03, 05, 09 and 10) and piano (on track 09)

Dwight Bosman
bass synthesizer

Dwayne Bosman
winds

Bahnamous Bowie
keyboard

Marsha Evans
background vocals

Curtis Fondren
drums

Jimmy Hinds
electric bass

Tracy Mitchell
background vocals (on tracks 04 and 07) , guitar and lead vocal (on track 06)

David Peaston
background vocals (on track 06) and lead vocal (on tracks 04 and 07)

Ptah Williams
piano

Production Credits

Tracks

No
Title
Duration
Excerpts
01
Mandela
00:07:30
02
Travellin'
00:04:23
ogg      mp3      
03
It's Alright Now
00:05:18
04
Special Lady
00:04:10
05
Walk With Me
00:05:37
ogg      mp3      
06
Waiting
00:03:59
07
Round & Round
00:03:27
ogg      mp3      
08
DB Blues
00:06:43
09
In The Garden
00:04:15
10
Thank You Lord
00:05:23

Album Details

Fontella Bass is one of the worlds great singers. From the legends to the little-known, there are artists who write songs that touch us in many ways and stay with us for many years. In 1965 came such a song. It was often hailed as the national anthem for the soldiers of Vietnam. The song is Rescue Me and was co-written and sung by Fontella Bass. Travellin features her band, the Voices Of St Louis. Its a family affair of sorts, as it features her brother David Peaston, her son Bahnamous Bowie on keyboards (he also produced); and her son-in-law, guitarist/ singer Tracey Mitchell. The recording, a superb selection of original soul and jazz compositions, as well as classic gospel, is sure to win new fans and delight old ones.

Liner Notes

Those in singer Fontella Bass' company for only a short time discover her spontaneous love and strong sense of family. A grandmother of ten, she gladly seizes every opportunity to surround herself with them - and to nurture, chide and instruct as well. She's an amazingly warm, funny, gracious and generous lady whose mission is to make first class music without boundaries.

Fontella, perhaps most famous for her R&B hit Rescue Me over thirty years ago, has her strongest musical roots in the church. Her eyes sparkle when she talks about the Lord or about her late mother, gospel great Martha Bass, and she displays an obvious exhilaration when casually singing a gospel phrase on the phone or around her house.

Her family ties are so firm that she performed with her late husband, Downbeat Hall of Fame jazz trumpeter Lester Bowie, long after their divorce - joining him on the road with their son Bahnamous, son-in-law Tracy Mitchell and her brother, R&B singer David Peaston .

Closely aligned with her commitment to family is her very real effort to maintain the St. Louis connection so vital to her. To that end she has recorded with the renowned World Saxophone Quartet - whose original members were St.Louis area saxophonists Oliver Lake, Hamiet Bluiett, Julius Hemphill (another Downbeat Hall of Famer, and transplanted Texan) and saxophonist David Murray (with whom she still tours).

Always willing to share her good fortune, she has taken her current ensemble, The Voices Of St. Louis to Europe, where she enjoys an avid following for performances.

Although Fontella has been highly touted for her vocal excellence - in May 2000 she received her long overdue star on the prestigious St. Louis Walk Of Fame - her friends and associates soon learn to love her for her genuinely kind spirit. Prime examples are her efforts to accommodate everyone during the recording of this project, and her tremendous patience and resilience whenever glitches occurred in the proceedings. Oh she isn't quite a pushover, though.

Whether in the studio or her well-travelled kitchen, Fonnie knows how to take charge. Her strength and control are reflected in her poignant gospel phrases - sometimes delivered with booming exultation - but most notable are her endearing qualities of warmth, humility and devotion. When she sings, it's easy to envision a jam-packed club or an overflowing church, both parts of the Fontella Bass experience.

With her latest effort - Travellin' - Fontella Bass lovingly documents her continuing musical journey. Rather than purism, she delivers pure delight - a pleasant potpourri of gospel, jazz and soul. This triumphant effort, co-produced by Fontella and her gifted son Bahnamous, who is also heard on keyboards, ingeniously blends genres and feelings and truly touches the heart.

Pianist Ptah Williams' luminous Mandela kicks off the CD, as Dwayne & Dwight Bosmans' horns announce the impending festivities. The jaunty intro sets the stage for some intricate and intriguing excursions, as Ptah's lithe fingers glide over the keys exploring the depths of melody and harmonic invention. Bahnamous' synthesizer and Fondren's tenacious trap work add an appealing touch before the composer reaches the pinnacle, then abruptly quits.

The title track, Travellin, continues the theme of celebration, as Fontella returns - giving that concept its highest form. The jubilation in her muscular, mezzo-alto is genuine as she rides the playful praises of the Bosmans' saxes and the happy rambling of Tracy's guitar. While lauding the Creator, Bass can't escape her deep R&B roots - referring to Al Green's Peace and Happiness, - and it only shows her indomitable spirit, spiced with a healthy sense of humor.

Mitchell's nearly mournful guitar and the twins' dirge-like harmony usher in Fontella's touching revelation - It's Alright Now. Beginning at a crawling pace and with a lamenting tone, she alternates sadness with the respondent acclamation embodied in the title. Dwayne Bosman's soulful alto extends the feeling, as Hinds' foundation and Fondren's subdued punctuation anchor the track. Bass then continues her affirmation, ascending to the peak of her vocal and spiritual expanse - reverting again to her R&B roots to acknowledge how "He (Jesus) rescued me."

The disc continues with a gem by her talented brother David Peaston. Special Lady begins with a slow entreaty which displays his lucid falsetto over the loping support of Williams, Bowie, Mitchell and Hinds and the tasteful accents of drummer Fondren. Dwight Bosman's radiant alto colors, and Ptah's rippling piano at once underscore and elevate the piece.

On Walk with Me, Fontella's soaring spirits emerge immediately. Her gigantic smile peers right through this uptempo romp and engages the players simultaneously. Dwayne's happy alto injects an almost party atmosphere as Bass offers jubilant praises to the
Almighty.

Mitchell's bluesy licks, Ptah's thoughtful embellishments and Bowie's plush organ padding easily coalesce with the others. For his part, Hinds dances along just above the surface and Curtis - in total command of skins and cymbals - clearly has a ball.

The family affair continues with Waiting, as son-in-law Tracy delivers still another emotional portrait - a tender, moving tribute to his wife Neuka. Mitchell's moody, velvet tones and intimate lyrics, the ringing keyboards of Bowie and Williams, some purely lustrous background vocals, Dwayne's prayerful flute and Mitchell's guitar interlude, all fashion a magical celebration.

Mitchell's strolling, muted guitar guides Peaston into the thoughtful lyrics of Round and Round. Then, abetted by the vocals of Mitchell and company, the crooner disperses joy throughout the studio with his remarkable range and energy.

A different flavor of fun comes across on the Bosmans' vehicle, DB Blues - a tune familiar to St. Louis barflies for many years. The rocking soul-stirrer affords the brothers an opportunity to unleash their feelings with a fury - Tracy's liquid guitar steps out front for an extended demonstration of his bluesmanship. Returning to the head, the twins enjoying Bowie's organ alliance play briefly without accompaniment, then close things out.

In The Garden reveals Fontella at her spiritual finest. Clearly "havin' church" on this solo effort, her compelling salutations and tasteful piano accompaniment steeped in the rich gospel tradition should sway any "unbeliever."

On the closing track, Thank You Lord, Ptah devoutly precedes his leader - brilliantly displaying his sensitivity - and Bass enters with a soft, unbridled testimony. She quickly elevates to the lush, heartfelt gospel offerings for which she has long been identified - over the sustaining, melodious reverence of her 'choir.' Williams again showcases his skills with his captivating solo mid-way and his bright, expressive accompaniment throughout. Bass stretches her vocal chords in tribute and closes with a powerful affirmation over Bahnamous' organ strains.

Roscoe Crenshaw