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Artist: Jamie Davis
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Jamie Davis:

It's A Good Thing

Jazz vocalist Jamie Davis, a veteran of the Count Basie Orchestra, confirms his position in the pantheon of great male vocalists that have sung with that esteemed ensemble on It's A Good Thing, a world class recording featuring the superb singer fronting a first rate big band, made up of members of the Basie organization and some of Los Angeles' finest instrumentalists, conducted by Shelly Berg. Produced by legendary Sly and the Family Stone drummer Greg Errico, It's A Good Thing combines swinging arrangements of pop hits by Stevie Wonder and George Harrison with a satisfying mix of Great American Songbook standards and bebop, bossa, ballads and blues.

Blessed with a deep, dark rich voice nurtured in the Pentecostal church, Davis exhibits the influence of the late greats Joe Williams and Lou Rawls, among others, in his own highly personal style. Singing with an authoritative tone, impeccable diction and seemingly effortless swing, Davis has the kind of sound that will have listeners begging for more. The deluxe package also includes a DVD, The Making of It's A Good Thing, that documents the joyous proceedings that produced this remarkable recording.

The date opens with Stevie Wonder's "Isn't She Lovely" arranged in the classic Basie style by Aaron Lington, an alumnus of the University of North Texas renowned One O'clock Lab Band. Davis sails smoothly over the orchestra, propelled by the Basie rhythm section of pianist Tony Suggs, guitarist Will Matthews, bassist James Leary III and drummer Butch Miles, singing with all the aplomb of a master who is completely comfortable in the company of equally talented artists. Basie trumpeter Scotty Barnhart, inspired by the vocalist's performance, weighs in with a wailing exuberant solo of his own that sets the bar high for the rest of the date.

George Harrison's "Something" may seem like an unlikely selection for a big band date, but Lington's relaxed rhythmic arrangement of the beautiful Beatles ballad makes it sound like it was written just for this orchestra, with Davis's distinctive phrasing making the piece his own. Matthews' guitar keeps the medium tempo churning and piano and tenor saxophone solos add the finishing touches to this curious addition to the jazz canon.