Review of "It's A Good Thing" by Scotty Barnhart

In the history of jazz, there are several instrumentalists and vocalists that clearly display all of the characteristics commensurate with being not only gifted as musicians, but also blessed with the ability to express themselves with a complete understanding of the history of their art. Such is the case with phenomenal jazz vocalist Jamie Davis.

From the opening chords of Cole Porter’s classic Night and Day to the flat out swinging and bluesy as hell scat on Thelonious Monk’s Straight, No Chaser, Davis makes clear that he has arrived at a point in his career that indicates that this is anything but a normal debut recording. Speaking from someone who was a part of this session and also someone who has worked with some of the greatest vocalists in jazz history from Frank Sinatra, Tony Bennett, Lena Horne, Nancy Wilson, Jon Hendricks, to the all around master in Joe Williams, Jamie Davis has grandly entered their particular realm of excellence that only comes once in a lifetime. Davis’s clear and relaxed delivery on Besame Mucho in particular is enhanced even more by the richness and flexibility of his voice that only seems to grow more perfect upon each listening.

I have had the pleasure of traveling the world with Jamie while he was our vocalist in the Count Basie Orchestra for several years, and I have watched thousands upon thousands of people the world over become mesmerized at his talents. He combines all necessary elements of a jazz master vocalist in addition to the subtleness and sexy sophistication of the late Johnny Hartman and Nat King Cole. That is clear throughout this recording and indicative of someone who has been able to effortlessly combine his personal nuances with those that display his love and reverence for the historical contributions of the aforementioned masters.

One thing that has to be noted on this session is the precedent that it sets in terms of the caliber of musicians involved and the arrangements that frame Davis’s natural talent royally. This level of talent, hand picked by Davis, allowed us to play together as if we had been a traveling group for years. Davis was adamant about getting the musicians he wanted which speaks volumes. To be able to secure the talents of the full rhythm section of the Count Basie Orchestra, which swings harder and more together than any other in the world as evident on every track, as well as having the orchestra’s lead altoist, lead trombonist, and trumpet soloist in yours truly, as well as veteran lead trumpeter Chuck Findley, and arranger and pianist Shelly Berg shows that Davis understands what Miles Davis, John Coltrane, Duke Ellington, and Count Basie did – either you have the right musicians or you don’t. Davis clearly does here.

With this disc, Jamie Davis will go down in history as the dean of present day vocalists who has strengths in all areas from professionalism to showmanship. But most important, he continues to make his mark as a great musician with that rare gift that all musicians desire – perfect ears. As a musician in the middle of a performance whether it is playing a trumpet or piano solo, or especially delivering a timeless and classic lyric as Davis does with great sensitivity on The Very Thought Of You and My Funny Valentine, one’s perception and execution of the harmonic and rhythmic particulars on such compositions has to be as flawless as possible. Again, Davis delivers in grand fashion.

Finally, one of the prerequisites that all jazz masters from Louis Armstrong to Sarah Vaughan demonstrated was the ability to transform a popular song into a jazz standard. This occurs more than once on this session with Davis’s elevation of the Stevie Wonder classics Isn’t She Lovely and (track 7). These songs nearly swing themselves but take on an even deeper meaning through the perfectly suited arrangements by Shelly Berg. With these and the other outstanding performances by Jamie Davis and his orchestra on this disc, you have in your possession a work of art that has taken its rightful place in the pantheon of timeless jazz classics that will continue to sound new and fresh upon each listening – whether that is at this very moment or one hundred years from now.

Scotty Barnhart
The Count Basie Orchestra
Author, The World Of Jazz Trumpet