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异色 - [耳朵旅行 - Sound]
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在当代不如她的追随者，声音女狂人Diamanda Galas出名，跟她的相对低调有关。后者亲口对外宣称Patty Waters对她的影响如何的大。可能有人听说当年是Albert Ayler在某个俱乐部听到她唱歌并将她推荐给ESP-Disk的老板，或者她同样得到像Thurston Moore这样的人的高度赞许，认为她一定是不用音符，只用嚎叫来唱歌的先锋。她是先锋没错，比起Yoko Ono来说对于声音的实验要早一些，在自由爵士风起云涌的60年代作为一名歌者其影响力延续至今，她更多继承的是类似Billie Holiday这样的伶人，首先拥有的是一把能感动人的好嗓子，只不过，对于Patty Waters来说，她被人记得更牢的是她演唱中各种拓展。
Patty Waters - Sings
Genre:Free Jazz/Female Vocal
Year:1966
Label:ESP-Disk
Tracklisting:
1.Moon, Don't Come Up Tonight
2.Why Can't I Come to You
3.You Thrill Me
4.Sad Am I, Glad Am I
5.Why Is Love Such a Funny Thing
6.I Can't Forget You
7.You Loved Me
8.Black Is the Color of My True Love's Hair1966年值得纪念的名盘。Black Is the Color of My True Love's Hair大概是公认的最惊艳，其实仔细听听，这女人唱的也是靡靡之音，情歌，以她的方式唱出来不但硬朗而且上瘾。
Independent labels like Bernard Stollmann's ESP-Disk lacked sufficient funds to lend much of a push behind their roster. Because of this fact, much of the label's talent has been neglected or left to a cult following. It seems hard to believe today—with a roster boasting artists like Paul Bley, Albert Ayler, Sun Ra, hippie folk cult icons Pearls Before Swine, and The Fugs—that the label didn't become successful like Impulse! did. Among the ESP canon of great forgotten artists are Henry Grimes, Burton Greene, and Patty Waters. One release that demands immediate re-evaluation is Patty Waters' debut, Sings.
Patty Waters herself seems almost as mysterious as her debut record. Her birthplace and date do not usually appear in any articles written about her. All that is known is she moved to Denver, then to LA, where she came to the attention of Miles Davis and Herbie Hancock. She began voice lessons and Davis helped annotate her compositions. After doing her time through the ranks, she landed in New York. Albert Ayler spotted her at a gig, was impressed, and brought her to the attention of ESP. She recorded Sings and a few months later the live College Tour. Waters recorded with the Marzette Watts Ensemble, then by the end of the '60s had relocated to the west coast and raised a son, only sporadically doing shows until 1996's Love Songs. Despite her lack of output—two records in '65 and '66—she managed to leave an impact on the future of vocal jazz. Sings is one of the truly great "lost" jazz records, a haunting and daring disc that brings to mind the Colpix and Philips records of Nina Simone. Though her work has a taste of Simone, Waters had a unique sound all her own.
The first side of the record contains seven short tracks where she accompanies herself on piano. These tracks are dark, beautiful, and ominous pieces, akin to what would be later known as goth music. Goth itself lacks the melancholy beauty of these songs, adopting a more morbid nihilist view born out of late-'70s post-punk. The pieces do, however, work inside an ideology comparable to the poetry of Anne Sexton and Sylvia Plath. The tracks feature sparse accompaniment with lyrics of pain and loss like those on "Moon Don't Come Out Tonight," which opens the record. This theme is repeated throughout the seven tracks that make up the first side. Waters left behind a work of art that shows beauty veiled behind darkness.
The second side of the album features only one track, a thirteen-plus-minute cover of the old folk standard "Black is the Color of My True Love's Hair." This solitary track is the opus that has made Patty Waters a cult icon. She uses a variety of vocal calisthenics that helped set the foundation of avant garde vocals within many musical genres, influencing artists as disparate as Yoko Ono, Diamanda Galás, and Lydia Lunch. (Galás has often cited Waters as her primary influence.) Backed by fellow ESP pianist Burton Greene, along with bassist Steve Tintweiss and drummer Tom Priceon, Waters' vocals on the track vary from whisper to shriek.
Some may be quick to condemn the record. The thirteen-minute track repeats the word "black" over and over again in a variety of ways, while a trio thrashes through some ESP-style free jazz. But it's a mistake to dismiss Sings, because a potent beauty lies inside this record. Waters certainly proves herself a strong composer and visionary vocalist whose work was thirty years ahead of its time. The pain encapsulated in this record, along with its avant garde leanings, would find a suitable place along some of today's underground bands and their fans. It is time for a generation of music fans to (re)discover the magic of Patty Waters and give her the praise she has so long deserved.
Patty Waters - College Tour
Genre:Free Jazz/Female Vocal
Year:1966
Label:ESP-Disk
Tracklisting:
1.Song Of Clifford
2.Hush Little Baby With Ba Ha Bad (Which Means 'Kingdom Of God' In Persian)
3.Wild Is The Wind
4.Prayer
5.It Never Entered My Mind
6.Song Of Life With Hush Little Baby
7.Song Of The One (I Love) Or Love, My Love第二张来自ESP-Disk的极品爵士人声，现场录音。Patty Waters从不晦涩，正是因为这样还有些难以形容。听就好了，都没空听谁废话。
Patty Waters recorded two fantastic records for New York’s original avant-garde label ESP-Disk in the mid-60s.
“College Tour” was her second for ESP and her final album, period, before fading into obscurity. Since that time however, her stature as innovator has continued to grow. She was one of the first female singers to explore extended vocal technique in a purely experimental setting, before Yoko Ono, Diamanda Galas, et al. She was recommended to the label by none other than Albert Ayler himself. For these recordings she had fully embraced the prevailing underground aesthetic towards spontaneous improvisation.
With a reputation based on her two 1960s ESP Disk recordings, “Patty Waters Sings” and “Patty Waters College Tour,” she’s often referred to as “legendary.”Her recording of “Black is The Color of My True Love’s Hair” was, and still is, considered a historic event in jazz.
Jazz critics were excited, calling it “unique” and “a must hear.” Rolling Stone wrote: “One really ought to hip oneself to the art of Patty Waters,” “haunting melancholia”, and “the best fucking singer alive.” The Village Voice wrote: “A sound contour never before heard in American music and poetry.” Woodstock News wrote: “Integrity of a sort few performers attain.” Downbeat Magazine critics in the 60s and 70s voted for her in both “Talent Deserving Wider Recognition” and “Established Singer” categories. In Downbeat's “International Jazz Critics Poll” of 1967, she'd have won first place with one more vote. And "Patty Waters College Tour,” in 1970, won 2nd place vocal recording in Jazz and Pop Magazine.
She has received favorable mention in various books on jazz including “Stormy Weather, A century of Jazz Women” and “Music and Politics.” Her recording of “Black is the Color...” was used in a French film in 1970.
ESP Disk has been available through Tower Records worldwide since 1965, selling primarily in Europe, Japan, Canada, and the USA coasts. While traveling in Europe in 1968, she noticed her albums on display in record store windows in both Amsterdam and London. For awhile, in the late 70s, while her albums were “out of print,” they were selling in New York City for $50 and $75. Then, BASE record in Milan, Italy, reissued her vinyl albums in 1981 through 1985. The vinyl have been again reissued by Get Back of Italy.CDs of the ESP catalog were issued in 1992 by ZYX out of Germany, and critics again responded enthusiastically.
When her two albums were reissued as CDs, Tower Records in Tokyo, Japan, devoted an entire window to her. In 1993, in San Francisco, a CD and album signing was held for her. The huge crowd were jazz fans, record collectors, writers, poets, and alternative music fans.Calibre in the Netherlands reissued the Patty Waters Sings CD in recent years, also.
From her childhood In Iowa, singing and traveling in her teens, to living In Denver, Portland, Los Angeles, San Francisco, then moving to New York City in late 1964, Patty's focus was on music. She's traveled throughout Europe and Morocco and lived a summer in Montreal, Canada.
While in New York, she was invited to sing as a guest with Bill Evans at the VillageVanguard, with Chic Corea at Minton's, with Walter Davis Jr. at Slug's, with John Hicks at the Five Spot, with Jaki Byard, Sir Roland Hanna, Ben Webster and Charles Mingus at various times at the Five Spot, and sang with Herbie Hancock at his home.She worked in an Upper East Side supper club with Richard Wyands and George Joyner, made a Jax beer commercial with Joe Newman, and performed with the big band of Warren Smith.
Then Albert Ayler took her to ESP Disk. She recorded “Sings” in December 1965 and “College Tour” in May 1966, performed with the Burton Greene Trio at the Woodstock Playhouse, with Ran Blake at the Fillmore East, with the Marion Brown Group at the Cellars in Montreal, with Guiseppi Logan and Mazette Watts groups in Tompkins Square Park, and recorded “Lonely Woman” on the Savoy label with the Marzette Watts Ensemble produced by Bill Dixon.
When her son was born in 1969, she moved to Mill Valley, California. She has sinceperformed only occasionally with musicians such as Art Lande, Steve Swallow, and Elliott Zigmund at the Berkeley Museum of Modern Art and at the old Keystone Korner in San Francisco.
In 1996, Patty recorded a CD of jazz standards with Jessica Williams for Jazz Focus Records in Canada. It received favorable reviews from critics worldwide. Patty has since appeared with Jessica at the Jazz Store in Carmel, California, she has performed in concert in Palo Alto, California, in San Francisco, California, at the Monterey Jazz Festival in 1999, at the Vision Festival in New York City in 2003, at the Le Weekend Jazz Festival in Stirling, Scotland, with Burton Greene. Water Records released a CD titled “You Thrill Me” in 2004 and DBK Works released “Happiness is a Thing Called Joe” in 2005. In March 2006, Patty sang with bassist Henry Grimes at the Kraak Jazz Festival in Belgium and at Two Art Galleries in Paris, France, Les 7 Lezards and L'Atelier Tampen-Ramier.
Her life is currently spent living between California and Hawaii.
Patty Waters - You Thrill Me: A Musical Odyssey 1962-1979
Genre:Free Jazz/Female Vocal
Year:2005
Label:Water
Tracklisting:
1.Jax Beer Commercial
2.You Thrill Me
3.Why Can't I Come to You
4.At Last I Found You
5.Georgia
6.At Last I Found You [Complete Version]
7.For All We Know
8.I Love You Honey
9.Love Is the Warmth of Togetherness
10.Please Make Love to Me
11.At Last I Know (I Belong to You)
12.Fine and Mellow
13.Lover Man
14.Touched By Rodin in a Paris Museum
15.Spring Is Here这张收录好多未发表的现场录音，也算是Patty Waters歌唱生涯一个小的鸟瞰，总之决非是惊吓，而是意外的能够融入的声音。
On several instances in this collection of previously unreleased material, Patty Waters appears so unexpected, so revealing, that hearing her feels like eavesdropping. Delicate, sensitive, and slightly melancholic, Waters sings of the off-center tones in love and life. Spanning 1960-79, You Thrill Me features many of Waters' solo ballads on piano, avoiding all of her more provocative free jazz excursions.
The collection begins with a light-hearted, jazzy jingle for Jax Beer, a now defunct New Orleans brewery. Though meant to be merry, Waters' breathy, hushed style suggests otherwise. It is this mercurial trait of joy tempered by sorrow that prevails throughout this collection. Pieces like "Why Can't I Come to You," "At Last I Found You," and "Georgia" seem intent on warming the soul through pensive, painstaking measures. When Waters displays a greater vocal range, as on "Fine and Mellow" and "Lover Man," the results blossom with more blues and greater force. Her piano and compositional skills are highlighted on the fourteen-minute "Touched by Rodin In a Paris Museum." Though she does not sing on this take, the mood remains the same. A far more mature voice concludes the set, with Waters doing a lovely version of "Spring Is Here."
Along with the music, this release by San Francisco-based Water label has several enlightening outtakes between the singer and her recording engineer on "You Thrill Me," "Why Can't I Come to You," and "At Last I Found You." They shed further light on this delicate artist and greater appreciation of her robust art.