Reviews: Antoinette Montague's Pretty Blues

Listen to Antoinette Montague's interview with Michael Bourne
on WBGO 88.3 FM here (mp3 format)




Antoinette is featured in the new book Encyclopedia of the 21st Century, Vol. 1: Biographies and Profiles of the First Decade – People Who Matter. Available at Amazon here and other fine booksellers.



To read the rest of this article, go here.




Antoinette's CD reviewed by Maximillien de Lafayette in the International Herald Daily News Online (Paris & London editions, reaching 7 million readers!) Click here for the review INDNO. She's also featured at Federation of American Musicians, Singers & Performing Artists, Inc. Click here FAMSPA



Antoinette has made the cover of Jazz Improv's New York Jazz Guide!

JI: What sparked your interest in this music?

AM: Probably my mother—who sounded a lot like Ella Fitzgerald. She was singing all the time. “A Tisket, A Tasket” never got done better, to me, than listening to her in the kitchen doing her thing. She’s the first person I heard sing, and do “The Big Apple” and “The Hucklebuck.” I’m the youngest of seven kids. My oldest brother is 68. I got to experience everything—The Ink Spots, Nat King Cole—the right people. Paul Robeson. I’m right in Newark, and Rutgers was his alma mater. If you came through the Newark school system, you learned about Paul Robeson. I remember the first time I heard Paul Robeson’s voice. It was almost like he was singing directly to me and telling me a story. The bottom in his voice was just outrageous. I could feel it on the wood in the classroom when the teacher played it. Now that is something to be able to do—to have your sound in the air, and have it reverberate, and feel it in the wood.

Click here for the PDF of the rest of this cover-featured interview!


"Pretty Blue" (Consolidated Artists Productions (1003) is the maiden CD from ANTIONETTE MONTAGUE, a vocalist with roots in Newark. At a first glance, the first thing that strikes you is that she has great taste in songs and musicians. Her group is Mulgrew Miller on piano, Bill Easley on reeds, Peter Washington on bass and Kenny Washington on drums.

The program has some great standards like “How Deep Is the Ocean,” “From This Moment On,” “Why Try to Change Me Now,” “Blue Skies” and “At Last.” There are also some wonderful, but rarely heard gems, “Unless It’s You” by Johnny Mandel and Morgan Ames, “Pure Imagination” by Leslie Bricusse and Anthony Newley, and “Pretty Blue” by Norman Simmons and Joe Williams. She also gives a nod toward the blues with “I’d Rather Drink Muddy Water//Ev'ry Day I Have the Blues” and “Miss Celie’s Blues (Sister),” the latter not a true blues, but a bluesy selection from the soundtrack of “The Color Purple.”

The big question is whether or not her singing is worthy of her material and surroundings, and the answer is an emphatic yes. Montague has a voice that is immediately appealing, and is adaptable to the variety of tunes that she has chosen for the album. Her sound is smooth with a soulful edge. She never gets tied up with vocal excesses, emphatic when she needs to be, and tender at the appropriate moments. The musical support from her A-list musicians is superb. This is simply a terrific straight ahead album of good songs, well performed.
Joe Lang, Jersey Jazz, May, 2007


Originally from Newark, Antoinette Montague has surrounded herself with four musicians that all have bigger names than herself. Veteran woodwind player Bill Easley divides his time between the tenor and various flutes while the A-list rhythm section of Miller and the Washingtons comprise a dream team capable of enhancing the voice of any singer on this or any other planet. Along with timekeeping duties, Kenny Washington also produced the album. As for Ms. Montague, she’s a strong singer and those, like myself, who can relate to Marlena Shaw or Mary Stallings will appreciate her sassy swagger on the swingers or sultry swoons on the slower items.

There are some tasty tune choices peppered among the mostly standard fare served up here. Joe Williams and pianist Norman Simmons are credited for the title tune, there’s a seldom heard Johnny Mandel script “Unless It’s You,” a pair of Irving Berlin war-horses that haven’t been done in so long they almost sound new, and a song entitled “Why Try To Change Me Now?” that has served as my credo for many years. Aside from the two tune Blues medley that opens the proceedings, there is a Quincy Jones/Lionel Richie finger-popper (“Miss Celie’s Blues”) that was originally on the soundtrack to The Color Purple. Mulgrew displays his knack for sensitive accompaniment on the duet of “How Deep Is The Ocean.” The only slight misstep may be the last cut, “At Last.” While the songstress does a respectable job on it there is no one that comes to mind that can top the Etta James version. All in all, this disc is a sleeper and a keeper.
Larry Hollis, © Cadence Magazine, Jan. 2007


Antoinette Montague has a powerful voice, the ability to hold long notes without wavering, and a knack for making every song sound bluesy. Her mentors were Carrie Smith and the late Etta Jones but she sounds quite original, even when performing beloved warhorses. Joined by pianist Mulgrew Miller, bassist Peter Washington, drummer Kenny Washington and Bill Easley on tenor and flute, Ms. Montague finds something fresh to say on "Teach Me Tonight," "At Last," "Miss Celie's Blues" and a medley of "I'd Rather Drink Muddy Water" and "Everyday I Have The Blues." She also performs a few lesser-known tunes such as Johnny Mandel's "Unless It's You" and "Norman Simmons' "Pretty Blue." Her delivery is heartfelt, infectious and memorable, making Pretty Blues highly recommended and quite enjoyable.
Scott Yanow, Los Angeles Jazz Scene


There is music so familiar we listen to it with jaded ear, absorbing, possibly even enjoying it without giving full attention to the performer.

That can't happen with Antoinette Montague. She's an original, and you've got to heed the passion in her voice, even when she's performing what some might consider the most tired of songs.

Pretty Blues is a familiar collection of ballads, blues and swing. But her renditions are hers alone, personal and professional. From the first track, "I'd Rather Drink Muddy Water," to the title piece and all along the way to the final track, "At Last," she makes the music truly her own with a voice that incorporates power, emotion and soul.

She went to Seton Hall University on a full academic Martin Luther King Scholarship and, like so many others, began her singing career in gospel. Later, she performed with R&B and blues bands. Mentored by such notables as Carrie Smith and Etta Jones, she went on to become one of the hardest-working jazz and blues singers in New York City, singing in clubs all over town as well as in festivals and on television.

Montague is backed on this debut album by a solid team of musicians -- Mulgrew Miller on piano, Kenny Washington on drums, Bill Easley on tenor saxophone and flute, and Peter Washington on bass.

My only regret about the album is there weren't more than 12 tracks.
John R. Lindermuth, Rambles.net


Ms. Montague is probably still pinching herself. Consider the premise for her recording debut: basic trio plus a reed man. Ah, but check the talent: pianist Mulgrew Miller; a pair of Washingtons, Peter on bass, Kenny on drums; and tenor saxophonist/flutist Bill Easley. It’s a win-win situation. Jazz players love to accompany a genuine jazz singer and Antoinette is as real as they come: good range, phrasing and taste.

All three come into clear focus immediately on the first track, the blues cocktail that evolves from “I’d Rather Drink Muddy Water” to “Everyday I Have the Blues.” As Mulgrew finishes his 12-bar intro, Antoinette hums around the root tone as if to announce, “I’m ready!” Is she ever! When Mulgrew sets her up for a supersonic “From This Moment On,” she confidently glides along while the monster keyboardist skillfully wears his fingers down to the knuckles. On “Teach Me Tonight,” she again shows her patience with words over a cooking tempo. She also shows how to sustain a tone forever, letting the vibrato finally emerge, never weakening the intonation. Tackling “At Last,” Antoinette never leans on Etta James’ ubiquitous reworking.
Jazz Times


If you love bluesy-jazz this CD is definitely for you. Her lusty and soulful voice reaches your most inner core. Her strength is combining the heartfelt passion of the Blues with the sophistication of Jazz. On occasion she may just throw in a little gospel, R&B, Motown soul or big-band stylings.
Eagleye/One magazine


Singer Antoinette Montague shows her strength in combining the heartfelt passion of Jazz on Pretty Blues. Her lusty and soulful voice reaches right into the heart of the listener.
Accent on Tampa Bay, Music Tracks


Half a century ago, the great impressario Alan Freed would have called this music Rock & Roll. It has all the elements: modern jazz and electric blues styles blended with just enough R & B spunk to spice it up; cool, sometimes edgy instrumentals including a solid rhythm section, lively piano, and sax that knows just when to wail. Most important, up front is a vocalist with a big voice and a gutsy approach to the music.

The publicity flak says that Antoinette Montague sings "jazzy-blues" and mixes jazz and blues. This is all certainly true. There's more. The sound is heavier than that and less traditional. The face of Rock & Roll has changed dramatically over the past fifty years, transmuting into the neo-classical Rock music and a variety of other sub-genres. It's no longer the music that radio DJ Freed was airing in 1953 and recognized, or perhaps helped create, as an exciting new popular form. Were he alive today, Freed would recognize that special sound in the work of Antoinette Montague.

This young artist has a powerful voice and she's not afraid to use it, belting out the more up-tempo songs and bringing soulful underlying emotion to the quieter songs. As I listen, I am especially reminded of three artists who had successful crossover Rock & Roll careers in the Fifties yet these days are remembered mostly as blues or jazz artists. Montague brings to her interpretations the same energy and even abandon as can be heard in old recordings by Etta James, Laverne Baker, or Ruth Brown. Not surprisingly, at least four of the songs on this release had been released previously by one or more of these great artists.

It must be said that this is a debut CD, but it's hard to believe. This artist shows the sort of polish one might expect from a singer who had been performing and recording for many years. On this release, Montague demonstrates acknowledge of the words and music that allows her to interpret both creatively and with great intuition for what will work and what will not. I have no real idea what Montague knows of the history of the music, but she clearly understands how it works and that's what's important.

Montague also knows how to pick her musicians. The very talented musicians on this set include Bill Easley on tenor sax and flute, Mulgrew Miller on piano, Kenny Washington on drums, and Peter Washington on bass. Together they make one solid band and the perfect backing group for this singer.

There's not a bad song in this set but, for personal reasons, I do have several favorites. I imagine the same will be true for any listener as certain songs or interpretations resonate and bring back forgotten memories or revisit current personal events.

"At Last" is a powerful interpretation of this classic, where Montague shares the vocal stage with Bill Easley's wailing tenor sax. The effect is intense and emotional. I could make comparisons to some amazing earlier versions by other artists, but Montague's interpretation easily stands on its own.

As I consider the list, I could include each of these twelve songs as one of my favourites. They're all that good. Instead, I'll leave you to discover this wonderful new artist for yourself. If this is the future of Jazz or Blues or even Rock & Roll, then the music is in very good hands.
Sound Bytes
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CD Review: Pretty Blues by Antoinette Montague


Antoinette Montagne sings the blues and she indeed does sing them pretty. Montague articulates clearly and gets off the ground without any undue historionics. . .

"I'd Rather Drink Muddy Water/Everyday I have the Blues" Montague swings coolly and Bill Easley on tenor romps merrily along with a soulful message. Mulgrew Miller dances across the keyboard in fine accompaniment.

Changing gears on the Mandel/Ames composition "Unless It’s You," Miss Montague shows her versatility with a beautiful rendition of this lovely ballad.

"From This Moment On" How did I know this song would be done 'up'?
Great arrangement as Miller rips a tasty solo on this piano and Montague with her shining brightly, delivers this tune with joy and panache.

"Dedicated to You" Not an easy tune to do, but Montague makes it seems easy with a solid effort.

"Teach Me Tonight" A great tune done with respect to Sammy Cahn, et. al.

"At Last" Easley's sax opens the door for Antoinette Montague's final tune on this album and it closes matters in a manner most fitting. Easley gets 'in the mud' on this one in a one mighty soliloquy. Montague's interpretative powers reign supreme. Fine ending to a fine recording.

This is an album to please everyone's taste. 5 Stars
ejazznews
CD Review: Antoinette Montague "Pretty Blues"
by John Gilbert


Jazz and blues singer Antoinette Montague was born in Newark, NJ, where she grew up. She attended Seton Hall University and graduated with a degree in English. She moved to Fairfield, CT, and became a vice president of human resources at Boardroom, Inc., in Stamford, CT. All of that constitutes her non-music career.

At the same time, she maintained a semi-professional career as a singer, initially in gospel and R&B groups after college, then, when she came under the tutelage of blues singer Carrie Smith, in blues and jazz. The vice president of the International Women in Jazz organization, she performed extensively with jazz groups in the New York metropolitan area. Eventually, she was able to record her own album, Pretty Blues, released by Consolidated Artists Productions in 2006.

This is the debut album by jazz singer Antoinette Montague, and pretty impressive it is, too. The lady has a gutsy voice that can belt out a blues or whisper a love song. And she has compiled a superb collection of songs by Joe Williams: "Pretty Blue," Irving Berlin:"From This Moment On," "Blue Skies," "How Deep Is The Ocean," Harry Warren: "At Last," Sammy Cahn: "Teach Me Tonight," Cy Coleman: "Why Try To Change Me Now?" and many others. Backed by a very supportive jazz quartet, these are intimate performances aimed directly at the soul of the listener.

It is so encouraging to see that despite the perceived wisdom (by those who know these things) that jazz is a dying musical genre, it is in fact quite alive and healthy - indeed, it seems to be thriving. I know this from the number of jazz albums received here at the Borderland for review, and Ms. Montague is the latest musician to prove that jazz and the Great American Songbook still has a lot of life left in it.
THE ONLINE GUIDE TO ALL MUSIC
(A DIVISION OF ALL MEDIA GUIDE)
Antoinette Montague
by William Ruhlmann