There are singers, and then there are musicians whose instrument is their voice. Beata Pater is clearly the latter. Whether interpreting lyrics with the emotional depth and lyrical expression of her personal “goddess” Sarah Vaughan and her beloved Shirley Horn; soaring on the fanciful flight trajectories of another profound influence, Betty Carter; or translating her studies on the violin into a fascinating musical narrative, Beata embodies creativity in its purest sense.
Beata’s latest creation “Tet” is her ninth solo album. Aptly titled, Tet is not only 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.”
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 Chip White. 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 Chip White items that close the album, The Countess, Strays and Ode to Max.