CD with Tuck & Patti

Let’s Go peaks at #17 on RMR Top 50 Jazz Chart, #1 on the Crossover Jazz Chart, and #15 on Illinois State Chart (all genres).        

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“Fazio’s tenor-baritone voice is unforced and with little gravitas, but the approach to the standards is fresh. Well done…”

Cadence Magazine

“Let’s Go is Fazio’s most cohesive and mature work to date. On it he has forged an individual style and a personal approach. These, together with his superb artistry, make this record highly enjoyable.”

Hrayr Attarian, Chicago Jazz Magazine

“Fazio falls into the pop-jazz category. His best asset is his warm and inviting vocal quality. A diehard bopster may not find much to nibble on here, but fans of adult standards will find him a delight.”

Geannine Reid, All About Jazz

“Chicago-based crooner Sam Fazio swings with his crisp, mature approach to classics with unique arrangements and a sound that will have you hitting the repeat button!”

O’s Place Jazz Magazine

“Unlike a number of jazz artists, Sam Fazio is more of a vocalist than someone who plays an instrument and sings…This one does not disappoint.”

Paul Wilson, Audiophilereview.com

“Fazio is a revelation; his vocalastics are low-toned and delivered with just a hint of raw silk in its texture. In Fazio we have a modern day troubadour who splits his vocals between the story and the art of delivering it to us. This is a rather rare combination and it separates him from most singers of his generation who seem to want to dazzle far too much with diabolical ornamentation such as scatting and other devices and gestures. Fazio, on the other hand, relies on his tone and manner, which recalls the golden age of vocalists.”

Raul da Gama, JazzdaGama

“If you like the era when vocalists were cherished for the quality of their voice and phrasing, then you will love Sam Fazio. Sam has a rich, deep voice and his delivery is smooth as silk. The first time you hear Sam sing some of his, and probably your favorite songs, my bet is you will award him a place on your favorite singers' list.”

Music Man Blog

“A very mature listen that sometimes gets dreamy, is highly rhythmic and alway emotive, Fazio sings from the heart here, and delivers a flawless performance with an incredible band to help solidify Let’s Go as the first must hear traditional vocal jazz release of 2020.”

Take Effect

“A straight up vocal album by a man with a gifted voice and style, he’s played well beyond the Chicago confines and deserves to be appreciate in those spaces as well.”

Chris Spector, Midwest Record

“Sam Fazio’s marvelous singing and the understated backing he receives results in a thoroughly captivating recording.”

Ron Weinstock, Jazz Blues Magazine

“Baritone vocalist Sam Fazio shows strong storytelling skills as he takes some clever material and gives it  a late night/last set feel. He’s got a great sense of timing and nuance as he puts himself in settings ranging from duets to small combos. A guy comfy in his own Bass Weejuns.”

George W. Harris, Jazz Weekly

Liner Notes from Tuck & Patti

We believe an artist's vision is unique and precious. It reveals itself through the voice of intuition, quietly whispering to the heart in a world so noisy that it is not always easy to hear. We promptly fell in love with Sam and his music the night we met, then, when he asked us to help him realize his vision for Let's Go, to be a truly personal statement, revealing his heart and his stylistic range, we felt honored and excited to take on this role.

After musical brainstorming sessions via Skype with Sam and his core collaborators, Chris White and Tim Fitzgerald, the three of them came from Chicago and set up shop in our home and studio near San Francisco. It reminded us of the old days when rock bands lived and played together: Nonstop music, the leisure to explore, jam, rehearse and refine rather than just record competent performances as fast and professionally as possible.

This set the scene for everybody, not just Sam, to dig in, musically and emotionally.  There were discussions along the way about what music at its best can do for the human heart, and how to achieve that. On some songs it flowed immediately; on others we all went back to the drawing board, multiple times if needed, until each song had the magic we sought.  In the process each musician ventured well outside his comfort zone.

Tim, who literally wrote the book on Wes Montgomery, limited himself only to the simplest dyads, triads and open chords on "Downtown Train," an exercise in stark minimalism from a maximalist player, creating the perfect mood. They all recorded their original "Let's Go" at a much faster tempo than they had rehearsed. On "Pure Imagination" we asked Chris to reharmonize and Sam to modify the melody, departing from their usual, straighter version. On "Superstar" we further challenged them to totally deconstruct the song, abandoning rhythm, harmony and even melody in search of pure emotion and on-the-edge, joint improvisation, with absolutely haunting results.  In turn Sam challenged me to record a vocal/bass duo on "Eleanor Rigby," with the only problem being that I am not a bass player! 

Sam, at Patti's request, also sat at our kitchen table and wrote "Share My Life," the sweet, unabashed love song that closes the album. Patti was honored when Sam asked if he and Chris could record her original song, "Reverie." She guided them through the process of finding themselves in the song and making it their own. Sam soared through soul-revealing performances on these ballads. Chris said with wonder after the "Reverie" session, "It was a joy to have the unpressured time and creative license to listen and explore these songs."

Fear not, though; there is also a healthy dose of Sam's signature style, swinging effortlessly through such classics as "S'Wonderful," "Teach Me Tonight" and "My Baby Just Cares for Me," with Patti's retro, background choruses.

By the time they left we had eight collaborations with Sam and Chris and/or Tim plus two with me. Later we added drums, percussion, bass and harmonica on only a few songs, including full band on a grooving version of "Do You Want To Dance," courtesy of some top San Francisco musicians. Still, the core of the album remains the original duo conversations.

 Patti and I then mixed, being careful to avoid the common mistake (we believe) of spending too much time recording and mixing everything but the lead vocal, then too little on that most important ingredient. When we took it to Bernie Grundman to master, he found nothing to change, his highest endorsement.

How did we all do on manifesting the dream? You'll have to judge. Patti and I have surely listened more times, in more detail, than anyone else ever will, including Sam. Yet it continues to be one of our favorite albums to put on, delightful, beautiful and deeply moving. We hope you'll love it as much as we do.

Tuck Andress and Patti Cathcart Andress