Beata Pater
Tet
(B & B Records)
July 22, 2019
Reviewed by John Hoglund for Cabaret Scenes
Who is Beata Pater? Clearly, she ranks up there with some of the finer vocal-jazz stylists around today. This is her ninth recording in collaboration with some exceptional musicians; and yet she is not as well-known as she deserves to be. That may soon change. New to this listener, Beata Pater is a compelling storyteller who uses alt-jazz stylings. In fact, she is likely to be new to many in the U.S. as she has had minimal publicity. She is a transplant from Poland now living in the Bay Area of California.
At first listen, her muted sound recalls a smoky Dietrich in her later years. As you are pulled further into this 11-song disc, you discover her uniqueness as a versatile jazz vocalist. For instance, just about all that can be done with “Old Devil Moon” (Burton Lane/E.Y. Harburg) has been done by others decades ago. Yet, with an impeccable 18-piece ensemble behind her (more on them later), Pater offers a new spin with a whispering treatment that is as enticing as it is sexy. Unlike Dietrich, whose range was limited, Pater’s sound can be ornate, salty, or sweet, depending on the mood she brings to the song—despite the sometimes impressive but often overbearing accompaniment by the band. Regardless of comparisons, it all remains intoxicating, making the CD a worthwhile investment.
Freddie Hubbard’s “Little Sunflower” and Chick Corea’s “Crystal Silence” (with lyrics by Al Jarreau and Neville Potter respectively) are masterpieces and supreme examples of definitive ensemble work. This brings up the relevance of those notable musicians on the album. Led by the brilliant pianist Hiromu Aoki, who collaborated on the core arrangements with Pater, along with string arrangements by Alex Danson and those for wind and brass by Aaron Lington, are nothing less than extraordinary examples of collective ensemble work that inspires. Their interplay is top drawer throughout this moving album.
Above all, the CD depends on Pater’s silky, painfully haunting vocals that, at times, recall Morgana King. With Aoki’s prodigious piano solo riffs and the musicians, she shows she is a translucent jazz singer of the highest order. Beata Pater is a name to watch for as she, hopefully, gains more exposure on the world jazz scene where she belongs.
