Beata Pater - Tet (2019)

With every new recording, the extraordinary Beata Pater defies predictability. What can always be expected though are rich musicality, fascinating settings, a wonderful repertoire and Beata’s unique and compelling vocal style.

For this album Beata has surrounded herself with an 18-piece ensemble – a wind and brass double quartet, a double string quartet, piano and bass – for a delightful set of nine brilliant interpretations of a pair of iconic jazz works, three time-honored American Songbook classics, a modern standard by Bill Cantos and three originals by Beata’s longtime friend and colleague Alan Chip White.

Tet is Beata’s ninth album, and aptly titled not only because it is the ninth letter of the Hebrew alphabet and the symbol for 9, but also as Beata explains: “It is symbolic of creativity, a vessel which holds something within, a womb for creation. Goodness is hidden within it.”

The winds and horns – trumpet/flugelhorn; trombone; French horn; bass clarinet/alto flute – and strings – a standard string quartet of two violins, viola and cello – each play two distinct parts written for the album by Aaron Lington (winds and brass) and Alex Danson (strings). The core arrangements are by Beata and the album’s pianist Hiromu Aoki.

The outstanding repertoire includes Freddie Hubbard’s Little Sunflower and Chick Corea’s Crystal Silence (with lyrics by Al Jarreau and Neville Potter respectively); timeless gems Invitation, Old Devil Moon and Lazy Afternoon; Bill Cantos’ I Feel You and the three Alan Chip White items that close the album, The Countess, Strays and Ode to Max.

With the marvelous interplay between Beata and her piano/double bass tandem of Hiromu Aoki and Dan Feiszli, and the sumptuous arrangements embellishing her radiantly captivating voice, Tet is another stunning example of the superb artistry and consummate creativity that is Beata Pater.