Photo by Andrea Canter

Early in her career—before the realities of family—Carole Martin was heard for nights on end at local clubs such as the Point Supper Club, Mar-key Club, the Radisson, and later at the Artists Quarter and Dakota. Her first recording, The Music That Makes Me Dance, was released back in 1968, and audiences had to wait more than 35 years for Pieces of Dreams. With her children now grown, Martin gradually resumed public appearances, special engagements and finally a return to the recording studio.

Photo by Andrea Canter

Described by Jon Bream (Star Tribune) as “the finest jazz-vocal CD from the Twin Cities in many a moon,” Pieces of Dreams is a collection of beautifully rendered standards, some as familiar as the back of your hand (“My Foolish Heart,” “Embraceable You”) and others oddly obscure (“Small Day Tomorrow,” “Don’t Misunderstand”). Joining Martin on the recording are some of the Twin Cities’ finest instrumentalists, pianist Peter Schimke, bassist Tom Lewis, tenor legend “Mr. Smooth” Irv Williams, harmonica master Gary Berg, and drummer, producer and AQ owner (and Carole’s son-in-law) Kenny Horst. For this recording, the Artists Quarter stage served as studio—so the ambience and sound come through like a night at the intimate club, minus the smoke and background chatter.

Particularly in her lower register, Carole Martin’s alto has warmth and character, like fine brandy to be savored slowly, filled with nuance and romantic spirit. These charms are most evident on slow tempo tracks, such as “My Foolish Heart,” “More Than You Know,” “Embraceable You,” “Don’t Misunderstand,” and “Small Day Tomorrow.” The opening track, “My Foolish Heart,” is taken at a sultry pace, Martin’s vibrato blending into Williams’ tenor. She draws out each phrase just enough to leave you hanging on for the next one, while Horst’s brushes on cymbals provide perfect feathery accents. Schimke comps just behind the beat, letting it float along, while Williams’ solo is sweet and wistful. And Martin does “let the fire start” as she moves into her upper register for the last chorus. Similarly, “More Than You Know” is slow and passionate, with Gary Berg’s harmonica adding a mournful, soulful quality that beautifully complements the deep alto voice. “Embraceable You” is taken at even a slower than typically presented tempo, drawing out the passion in the lyric. Martin’s is a straight-forward reading, not seductive so much as sincere. While the introductory passage is usually sung, Irv Williams opens this track with his smooth tenor and takes an impassioned solo midway, which comes dangerously close to upstaging the vocalist. Gordon Park’s “Don’t Misunderstand” (popularized in the film Shaft’s Big Score), deserves more than occasional performance. Recommended for inclusion on this recording by Williams, this track provides opportunity for a wonderfully melodic, airy exchange between sax and voice, riding above Horst’s brushes and a solid foundation from Lewis and Schimke. If one track belongs to “Mr. Smooth,” this is it.

“Small Day Tomorrow” is a seldom performed gem from Bob Dorough and Fran Landesman. Says Martin, “I’ve actually only heard one other person sing that song in my life. It was Irene Kral.” When she was introduced to the tune by “jazz lawyer” Keith Peterson, Martin “thought the lyric was just incredible.” And her voice seems a perfect foil for these lyrics, the melody bringing out her lovely lower register, while Gary Berg provides standout support.

Photo by Andrea Canter

Several tracks are more upbeat. “It Might as Well Be Spring,” still at a somewhat slower pace than the usual rendition, swings ahead with propulsion provided by Kenny Horst’s percussive clicking rims. Octogenarian Irv Williams displays the vitality of a much younger performer. “A Beautiful Friendship” swings with Williams’ tenor and Horst’s cymbals and rolling snare, more of a showcase for the band. Even at a faster tempo, on “I’ve Got You Under My Skin” Martin draws out the syllables, giving the tune its rhythmic bent and emphasizing lyric and feeling. The song gets “under your skin,” yet maintains a very upbeat quality. The Mercer/Arlen standard “Come Rain or Come Shine” features a supernova bass solo from Tom Lewis, while the lyrical side of Peter Schimke shines and swings. While I personally prefer Martin’s lower register, her high notes here are true and she conveys that she is really “with you,” no matter what comes. The title track “Pieces of Dreams” is my favorite among the faster paced tracks; Schimke’s keyboard propels the swing along with Horst’s constant clicking and tingling. This Michel Legrand tune was included at the urging of Martin’s daughter Dawn after hearing old tapes from her mother’s 1980s club dates.

The closing track. “You Better Go Now,” is boldly sung a cappella. You need true pitch and enough emotional resources to do this alone, and Carole Martin is up to the challenge. Used as her set closer during her more active career, she first sang the tune unaccompanied in the midst of a power outage at a suburban club in 1975. “That’s not such a bad thing to do at the end of an evening, just to show that I could stay on key,” says Martin. And it’s a short and sweet ending to a recording that lingers long after the last note.