On the basis of empirical observations made over the last fifteen years, I would state without fear of contradiction that Rebecca Kilgore, residing in Portland, Oregon, is a recognizable member of our species, genus, phylum, etc. I’ve seen her drink cranberry juice, check her iPhone, write something down with a pen, eat Thai food, and so on. Once, she picked me up at the airport in a little white car, a great honor.
Yet something magical that I can’t explain happens when she sings in front of an ensemble. She doesn’t grow larger or louder, she has no magic wand or pointed hat, and if she has a cauldron it’s out of sight behind the stage. She entrances us. She doesn’t make us meow or bark or do silly things for the mocking amusement of others, but we fall under her spell — musical and emotional.
If you think I exaggerate, I present nearly seven minutes of magic (on the second or third viewing, look at how happy the band is!) created by Rebecca on a 1945 pop hit by Billy Reid — we know it, probably, from the recordings by Louis Armstrong and Charlie Parker. This performance, created on the spot at the 2014 Atlanta Jazz Party, finds Rebecca among friends and magicians Ed Metz, drums; Paul Keller, string bass; Rossano Sportiello, piano; Dan Barrett, trombone; Dan Block, tenor saxophone; Duke Heitger, trumpet. Entrancing.
Don’t go back to preparing dinner or that Zoom call too quickly — an abrupt descent from the sublime to the mundane could have damaging side-effects. If you’re like me, one visit to THE GYPSY as imagined by Becky and friends won’t be enough.
That was seven years ago. Rebecca, pianist Randy Porter, and string bassist Tom Wakeling (“the Rebecca Kilgore Trio”) have recorded a new CD — a mixture of wonderful songs, many new to me, all equally entrancing. It’s not released yet, but you will be able to find out more about it and Rebecca’s other recordings here.
May your happiness increase!