Deborah Silver With The Count Basie Orchestra: “Basie Rocks!”
by Michael Doherty
Vocalist Deborah Silver, backed by The Count Basie Orchestra (along with some special guests), tackles some popular rock numbers from the 1960s, 1970s and 1980s on this album. The album opens with The Rolling Stones’ “Paint It, Black,” featuring special guest Arturo Sandoval on trumpet. Arturo delivers an excellent lead in the middle of the track. Deborah Silver gives us a passionate vocal performance. I especially love how she delivers a line like, “I look inside myself and I see my heart is black.” That’s followed by a totally delightful rendition of Elton John’s “Bennie And The Jets” which kind of sneaks in and then suddenly announces itself with a bright burst of energy. Deborah’s vocal approach is really cool here, giving me a new appreciation of this song. Also, all the lines are delivered with clarity (so, no, it’s not “electric boobs,” friends), and toward the end she’s able to cut loose a bit. This is a truly excellent rendition, and it is followed by another outstanding track, “Baby, I Love Your Way.” Her approach to this song is absolutely delicious, with the right amount of romance in her delivery. It’s gorgeous and enthralling. And making it even more special, Peter Frampton comes in on guitar in the middle of the track, delivering a nice lead. This track is reason enough to add the album to your collection. Then “Tainted Love” begins with some cool work by guest John Clayton on bass. Here this song becomes a great duet, with Kurt Elling joining Deborah Silver on vocals. Another fresh and exciting approach to a well-known song. Her version of “A Hard Day’s Night” swings, and has some vibrant moments, and also a playful vocal section toward the end. “Joy To The World” becomes a duet, this one with Trombone Shorty, who also delivers some wonderful stuff on trombone. Then Bill Frisell delivers an excellent guitar lead on “Fly Like An Eagle.” Another of the album’s more surprising arrangements is on The Police’s “Every Breath You Take,” and this rendition is a delight. It has something of an early 1960s vibe at times, and special guest George Coleman delivers some nice work on tenor saxophone. The album concludes with “Life’s Been Good,” which kicks in with a big band joy, and makes us feel that life is good, that we’re all okay.