THE ORIGINAL LINER NOTES

“Joani is the kind of singer who can make it any which way, solo, with a duo, trio, quartet, any size of small group backing. But I think her gifts are especially enriched by the varied sounds that can be coaxed out of a big band”.

That was trombonist-arranger-conductor Dave Robbins talking about new talent Joani Taylor of Vancouver. He led the date and along with Brian Griffiths wrote the charts.

“You know, Bob, Joani is just 21 and I know that but when I listen to her I have to keep reminding myself, she’s just a young lady. Joani sounds all the time like she’s made the scene before, kind of like a reincarnation”.

This soft-spoken Southerner puts nobody on, consider these credits. A music degree from Texas State College, stints with the National Marine Band in Washington, D.C., the Hollywood Bowl Symphony and six years as lead trombonist and musical director with Harry James Orchestra plus the many and varied modern music shows he has fronted for CBC radio and television.

Dave’s idea of his assignment as arranger for a vocalist is worth repeating. “I try to make a frame for the image the singer wants to project. In this case I was very respectful of the songs Joani selected and I tried to offer sounds and combinations of voicings that would complement her unique talents. It’s a challenge, being the man between the song writer and the interpreter”.

The interpreter is Joani Taylor whose husband Bob Murphy plays both regular and electric piano and organ on this record. I asked her the obvious question, does she like working with her better half?

“Yes, yes”, enthused Joani, “his backing brings out the best of what I have to offer, I wouldn’t have it any other way. I sing better because of Bob”.

I met Joani Taylor, or more correctly heard her voice, in the early summer of 1964, some 4 years before this recording date.

She was one of the first of a myriad of young entertainers who applied for the then new teenage television series “Let’s Go”.

The crumpled notes from that occasion indicate that for once my so called instinct spotted a future star. They read “useable, physically attractive, voice quality original, somewhat misty, opaque, cloudy and very musical”.

Joani’s sound and skill with lyrics make an impact that induces passers-by to stop outside the record booth, pluck your sleeve and ask “Who is that, I like her”? Man, that’s class in any era.

As a professional, Joani will be the first to admit the considerable help she received from her backgrounding corps, the seventeen piece band fronted by Robbins and the five true voices of the Numerality Singers.

But before I offer some reasons why I like certain of Joani’s performances in the album better than others, it’s the lady first with two comments relating to the date and music in general from this young talent who freely admits that her singing on all occasions could be better.

First, ambitions. “I’d like to do some model things, maybe a whole suite of them. Then I’ve always had a yen to do a hip musical with dancing included”.

About the album: “Please give Dave Robbins the big share of the credits and save some for Ian McDougall—his trombone solo, bottom style, on How Insensitive was wonderful”.

Now, author’s privilege, these are my favourites.

FREE AGAIN The great contrast between the almost spoken choruses and the bird-like flights that follow.

FEELING GOOD Yeah man, Joani’s in fine ¾ fettle and how about the fresh way she treats the out chorus?

HOW INSENSITIVE That’s Ray Moga, guitar. Joani’s voice plus instrument are perfect for this girl-boy bit. And dig that eerie last note.

CAN’T TAKE MY EYES OFF YOU What a delightful way to finish a record, the bell-like sounds of the big band then the switch to Rock ’68 and Joani in charge all the way.

I have one more item for the men who are listening to this album, Joani tells me she can’t cook. You’ve got to know she means the kitchen bit.

— Bob Smith

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