That's Him

Abbey Lincoln - That's Him

That's Him
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CD Details

Artist: Abbey Lincoln
Edition: Music CD
CD Release Date: 1991-07-01
Music Label: Riverside
Soundtracks:
  1. Strong Man
  2. Happiness Is A Thing Called Joe
  3. My Man
  4. Tender As A Rose
  5. That's Him
  6. I Must Have That Man
  7. I Must Have That Man (Take 3)
  8. Porgy
  9. Porgy (Take 1)
  10. When A Woman Loves A Man
  11. Don't Explain

Music reviews of That's Him

Music Review: Ignore the party line: this is her best.
Rating: 5 Stars

The recent passing of Abbey Lincoln led me to reviewing the bulk of her discography, downloading tracks from 10-12 albums. Perhaps I shouldn't be surprised that the narrative that has been most widely published about her characterizes her as a "puppet" of producers eager to exploit her physical beauty, resulting in the image of a lightweight "supper club" singer, a sex kitten, etc. who then, courageously if not miraculously, began to "transform" herself into an "original" after meeting Roach and recording "Straight Ahead" and "The Freedom Now Suite." But it's primarily her work beginning in the mid to late '80s, recordings focusing exclusively on her own songs and poetry, that won for her a fairly enthusiastic, feminist-leaning fan base.

To a less politically minded listener, and one who appreciates the purely musical values of the jewels of the American Songbook, the foregoing narrative doesn't play out that neatly. She's in good, if not better, voice on this early recording (her 2nd) than on most that were to follow (though the 2 aforementioned albums with Roach can be recommended for the contributions of Coleman Hawkins just as the later "You Gotta Pay the Band" has the added appeal of Stan Getz). But "That's Him" has an all-star line up itself (Roach, Dorham, Rollins, Chambers, Wynton Kelley). The tune "Strong Man" was written by Oscar Brown Jr. to counter some of the other tunes like "Happiness Is a Thing Called Joe," torch ballads with a masochistic text-- the familiar theme of a woman unable to stop loving a no good, unfaithful jerk (or even worse when considering another of the tracks, "My Man," with its references to brutality, promiscuity, misogyny).

As much as many of us would prefer a love partner like the one in "Strong Man," the remaining "masochistic" songs on the date resonate more memorably, the very force of Abbey's charm, charisma, and somewhat "raw" vocal quality at once seducing the listener and serving notice that she was, in fact, far from anyone's patsy. Art, including music and jazz singing, is primarily a function of form, not of content.

Abbey's is a voice I find hard to stay with for extended stretches. As I listened to the recordings and read the 3-page NY Times obit, I couldn't help but wonder if the passing of a supremely gifted singer like Etta Jones (who died in October 2002, just 2-years short of a 60-year career) had even received any notice from the publication. (The question was largely prompted by comparing Abbey's version of "Crazy He Calls Me" with Etta's far more assured reading.) Several years ago on the Tavis Smiley Show, Abbey was quick to answer in the affirmative when asked if she considered herself a "performance artist" as much as a jazz singer. She spoke candidly about her theatrical approach and the advantage she enjoyed over other singers because of her acting experience (she's radiant opposite Poitier in "For the Love of Ivie"). She also stated quite unmistakably that if in the public's mind "you're supposed to be an original" it can only be good for business to fulfill the public's expectations.

While I may differ with those who place Abbey Lincoln in the same company as Ella, Sarah, Carmen, Billie, etc., there's no denying that she was an original.
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