Beegie Adair and Don Aliquo: Too Marvelous for Words

Adair Music Group
By Ric Bang
Buy CD: Too Marvelous for Words

Those old enough to remember the jazz scene in the late 1940s and ’50s know what it was like to enjoy the music that was being played on the countless radio stations and clubs that operated in every big city across the United States. Quite a few of the artists who were part of that kind of jazz — or influenced by it — are still active today. Tenor/alto sax player Don Aliquo and pianist Beegie Adair are two examples, and they’ve gotten together for this album.

Adair is the senior member here. Born in 1937 in Kentucky, she began to play piano at age 5; after obtaining a college degree, she moved to Nashville and became a session musician. Not many can say they’ve played with a range of singers such as Peggy Lee, Cass Elliot, Dinah Shore and Dolly Parton.  

Adair and her husband anchored their own trio, and over the years produced scores of albums.

Aliquo, born in Pittsburgh in 1960, worked there until 1999, when he moved to Nashville. He soon met and performed with Beegie, but this is the first album they’ve made together; they’re joined by bassist Roger Spencer and drummer Chris Brown (Adair’s regular trio members).

Jazz fans who still love 1950s stylings will enjoy this release. Most of the 10 tracks hail from the Great American Songbook, and only one — “Isfahan” — was written later than 1952. You’ll certainly recognize all of them.

Aliquo is a smooth artist who plays in the style of Stan Getz and Ted Nash. Adair is another Marian McPartland, but swings more. As a team, Aliquo and Adair groove nicely.

This is a wonderful trip to the past: more than an hour of melodies you enjoyed then, and will want to hear again and again.

The Beegie Adair Trio: The Real Thing

Green Hill Music
By Ric Bang
Buy CD: The Real Thing

Remember the days when you’d go out for an evening of music and recognize every song performed? Well, that’s what we have with this release by the Beegie Adair Trio. 

Adair was born during the early years of the swing era. She began to play the piano at age 5, earned an undergraduate degree in music education at Kentucky’s Western State University, then began a life dedicated to that art form. She taught for awhile, played in local jazz groups, became a session musician for radio and TV gigs, and wrote commercial jingles ... while simultaneously freelancing as a pianist. She fronted a trio as early as 1966, but her first recording under her own name didn't come until 1991's Escape to New York. She's quite prolific; she has released dozens of albums as a leader, and guested on many others.

Adair's favorite group configuration is a trio. She’s supported here by bassist Roger Spencer and drummer Chris Brown; both have been with her for years. These folks play authentic mainstream jazz: the wonderful music your parents (or grandparents!) used to listen and dance to, when they were younger. 

But that doesn’t mean this stuff is dated: Not by a long shot. It truly swings! 

The fact that this album was recorded before a live audience contributes to its excellence. The arrangements tend to be longer, with no constraints related to fitting a certain number of tracks onto a CD); the solos also linger more; and the presence of an audience, and its reaction, always has a positive impact on the performers. 

Because almost all the songs in this release are familiar standards — tunes that often carry special memories for those in the audience — that always results in a friendlier reception. The only sorta-kinda non-standard is Thelonious Monk’s “Rhythm-A-Ning,” but since that tune is based on the chord structure of “I Got Rhythm,” it counts anyway. 

I haven’t heard “Besame Mucho,” “The Lamp Is Low,” “My Old Flame,” “Stairway to the Stars” and “We’ll Be Together Again” in years. I loved this well-delivered reminder, and you will also.

Beegie Adair: Dancing in the Dark

Green Hill Records
By Ric Bang • Originally published in The Davis Enterprise, 3.5.09
Buy CD: Dancing in the Dark

This is the third album by the wonderful Beegie Adair Trio that I've reviewed in the past few years, and it's another winner.

Adair constructs albums based on specific themes and events that have been important in her life. A previous release (Sentimental Journey) featured songs from the World War II period; another (As Time Goes By) covered famous movie songs. This one focuses on melodies that Fred Astaire danced to, and sang, during his career.

The Kentucky-born Adair, now a Tennessee resident, once again is supported by bassist Roger Spencer and drummer Chris Brown. They thinks as one.

Adair is one of those pianists who, while you listen to her, prompts wistful thoughts like “Gee ... I wish I could play like that.” She's technical perfection, light on the keys and marvelously innovative, and she always swings.

Each tune here is covered in the same way: the introductory theme, often ignored by today's artists; then the standard, familiar chorus; then additional choruses that allow Adair to stretch out and show her chops; and a final chorus that re-states the melody line. Generally, the length of each song is limited by the interval (scene) that featured Astaire's dancing or singing performance.

You've heard all these songs before, but boredom never sets in.

I'm already anticipating next year's effort by Adair and her band.

Beegie Adair: Sentimental Journey

Village Square
By Ric Bang • Originally published in The Davis Enterprise, 2.1.07
Buy CD: Sentimental Journey

This is a labor of love by pianist Beegie Adair, who grew up during World War II. She was exposed constantly to the many songs that were written and performed during that period, and she recently decided to create an album as a tribute to what she terms "this wonderful music." 

Sentimental Journey is the result. 

Adair was born and brought up in Kentucky, and she now lives and works out of Nashville, Tenn. She's proof that "country" isn't the only musical form emanating from that area. Much of her early experience came from working with the likes of Dolly Parton and Chet Atkins, of course, but her real love always has been related to jazz. 

Adair is a prolific artist; she has produced — or been part of — almost two dozen CDs since the early 1990s. Her core group is a trio, with her piano accompanied by Roger Spencer (bass) and Chris Brown (drums). Both gentlemen are consummate musicians who've played with the likes of Maynard Ferguson and Les Brown. 

This trio swings; Adair & Co. have played together so long, that they think as one. 

The album contains a dozen unforgettable tracks. Those of us who were part of that period remember that "records" produced at the time were limited to about 3 1/2 minutes of playing time. Adair performs each tune with the same constraint, which creates a similar "feel" as those old 78s. 

Additionally, each song is performed at the ballad tempo longtime listeners will well remember. "I'm Getting Sentimental Over You," "Moonlight Serenade," "Sentimental Journey," "I'll Never Smile Again," "It's Been a Long, Long Time," "At Last," "You'll Never Know" and "I'll Be Seeing You" are perfect for slow dancing, while the up-tempo "Begin The Beguine," "Chattanooga Choo Choo," "String of Pearls" and "In the Mood" will make you want to Lindy again. 

This album should appeal to all who lived through this era. It probably won't be a big seller for today's youth, or even for the boomer generation, but enough of us senior citizens are around to make this a winner for Adair and Village Square.