Veronica Swift – Confessions

Times change. In the Me Too era it is clearly politically incorrect for a female singer to sidle up to the microphone and huskily breathe “My Heart Belongs To Daddy” like Julie London used to do. Or even, for that matter, to lustily proclaim “Diamonds are a Girl’s Best Friend” like Marilyn Monroe. But a residue of that sort of thing (it’s called sex appeal) needs to remain, regardless. Veronica Swift is the epitome of a modern female jazz singer. She can wear figure-hugging evening gowns and high heels, but she’ll look her audience in their collective eye and state defiantly, “You’re Gonna Hear from Me.” That’s the one that goes, “Move over, sun and give me some sky; I’ve got these wings I’m eager to try.” She comes back down to earth with a fine interpretation of Billie Holiday‘s “I Don’t Want to Cry Anymore”: “Oh, why can’t I forget you; I know so well what is in store. A moment or two up in the clouds with you, Then back where I was before.” “Forget About the Boy” and her own bittersweet “I Hope She Makes You Happy” leaven the mix: love seen from different angles. Talking of which, there’s “Confession/The Other Woman,” an angle on love that is rarely celebrated in song.Veronica Swift chooses her songs with great care. She grew up touring with her parents, jazz pianist Hod O’Brien and singer Stephanie Nakasian. So she knows the score.  She made her first appearance at Jazz at Lincoln Center when just 11 years old. In 2015 she won second place in the Thelonious Monk Jazz Competition and a year later headlined at the Telluride Jazz Festival. A residency at Birdland in New York followed, and in 2018 she began touring with trios fronted by pianists Emmet Cohenand Benny Green, both featured on this album.  Her songs are marvelously well-crafted performances rooted in tradition,...

Tessa Souter “Beyond The Blue”

Three of the tracks—“The Lamp Is Low,” based on Ravel’s “Pavane”; “My Reverie,” built from Debussy’s “Rêverie”; and “Baubles, Bangles and Beads,” from Borodin’s “String Quartet in D”—will be instantly recognizable, though Souter’s slow, sensual readings are stunningly original. A fourth is based on another Borodin composition, his “Polovetsian Dances,” transformed more than a half-century ago into “Stranger in Paradise,” but here reimagined by Souter as the more intimately romantic “Dance With Me.” The eight remaining tracks embrace source material both familiar (Beethoven’s “Seventh Symphony,” Brahms’ “Symphony No. 3”) and comparatively obscure (Tomaso Albinoni’s “Adagio in G Minor,” Gabriel Fauré’s “Pavane” and his “Elegy”), all refitted with splendidly crafted Souter lyrics. In the liner notes, Souter says that the majority of the arrangements “emerged spontaneously in the studio.” Such alchemic dexterity is a rare pleasure. By Christopher Loudon “Jazz...

GRETA MATASSA – PORTRAIT

Greta Matassa has made choices in her career that have sacrificed some visibility in exchange for lifestyle. Yet the Seattle based vocal artist has established herself firmly as one of America’s finest singers, and one of the best that jazz has to offer in the new century. To this point, the jazz public at large had not heard from Matassa in 5 years, since her last solo release for Resonance Records, “I Wanna Be Loved” (Resonance, 2014). With Portrait (Origin, 2019), Matassa explores the best music she has performed in the past decade with her working quintet that includes pianist Darin Clendenin, bassist Clipper Anderson, saxophonist Alexey Nikolaev and drummer Mark Ivester. The entire album plays like a set they might perform one evening in an intimate setting. There is a beautiful chemistry illustrated broadly in the intricacies of the musical interaction, and effortless sense of swing from piece to piece. Opening with Michel LeGrand’s “Pieces of Dreams,” the listener hears immediate impressions of a long tenured band, with the scorching solo of Nikolaev weaving its way through the elegant comping of Clendenin, and the one mind tamdem of Anderson and Ivester. It is a melody perfect to highlight the cadence of Matassa’s innovative approach, her amazing sense of tonality and range, and deep connection with the blues. Innocently sequestered between melodies composed by the likes of Ellington and LeGrand is a Bob Dylan jewel, “To Make You Feel My Love.” Matassa switches gears to present this soulful rendition, giving the impression that this tune’s intimate setting may well be in Detroit. In short, the opening two numbers clearly establish not only Matassa’s versatile skill set, but her willingness to go deep into a melody with a musician’s mind. Her instrument has always been unquestionably top tier, her ability to interpret within the mood and emotive qualities of a...

Charles Ruggiero and Hilary Gardner Play The Bird And The Bee

That small seed of possibility, pointing toward the jazz potential in the songs of Inara George and Greg Kurstin, has now bloomed into this beautifully imaginative offering. Ruggiero and Gardner join forces here to deliver smart takes on eight of The Bird and the Bee’s compositions. Arresting and imaginative, the music is both in line with its origins and independent in style and spirit. Teaming up with pianist Jeremy Manasia and bassist Neal Miner, Gardner and Ruggiero get into the zone with a “Meteor” that finds vocals hanging in the stars while the drums maintain an active presence below. It’s a performance that’s tied to both heaven and earth. Following that kickoff, Gardner blends poise and humor (and a requisite expletive) in signature fashion on a snazzy, snapping-and-swinging “Boyfriend.” Both numbers point clearly enough toward the models while also demonstrating their malleability. If there was any doubt about the legitimacy of placing this material in a jazz context, those opening numbers swiftly dispel it. And the songs that follow continue to make good on the conceptual promise. Manasia serves as a glimmering presence while Ruggiero and Miner create a waltzing flow for Gardner to glide over on “Lovey Dovey.” Gardner and Manasia, eyeing the original opening transition and molding it to their liking, introduce “You’re A Cad” with a play on the sectional verse setup before Ruggiero brings his “Poinciana” groove spin into the picture. And “Diamond Dave,” a billet-doux to David Lee Roth, is painted to perfection in wistful shades. Ruggiero and Gardner have got something good going on here, occupying a niche that’s completely their own. While this classiest and wittiest of reimaginings may turn out to be a one- and-done affair, a second volume would most certainly be welcome. Track Listing: Meteor; Boyfriend; Lovey Dovey; You’re A Cad; Come As You Were; Diamond Dave; The Races; Fourth Of July. Personnel: Hilary...

VSOJAZ 12/09/17 (The Quieter Side)

VSOJAZ 12/09/17 (The Quieter Side) Name Time Album Artist 1 Bonus Track – On a Clear Day (Bonus Track – On… 5:27 Dreams (Dreams) Sinne Eeg 2 Send in the Clowns 4:37 Rearrangements of Shadows Cheryl Bentyne 3 Shadow Waltz 4:15 The Late Set Hilary Gardner & Ehud Asherie 4 Autumn 5:51 Jazz My Soul Jazz Explorers 5 You Better Go Now 4:50 I Wish You Love Jayne Manning & The Executive Suite 6 Trav’lin’ Light 3:17 In the Moment Johnny O’Neal 7 Livin My Life My Way 4:16 Black Moonlight Linda Carone 8 Slow, Hot Wind 4:50 Dreamsville Nancy Hamilton 9 Nature Boy 3:45 Nat “King” Cole & Me (Deluxe) Gregory Porter 10 Driftin’ 5:35 Images of You Allan Crossley & Larry Crawford 11 I Left My Heart In San Francisco 6:01 Versatile Van...

Danielle Wertz & Tal Cohen – Intertwined

The artistic platform of the duo summons brave souls of the universe. It demands intimacy, courage, risk-taking, creativity, innovation and an ample imagination. Each breath, each sound, and every silence carry heightened relevance as each musician must maintain complete respect and trust of one another. These attributes are abundantly intertwined within Intertwined. The personalities at play on this album are special. It is clear to this listener that Danielle Wertz and Tal Cohen are creating with a sole agenda, which is to serve the music and nothing else. There is no ego in this music. The original material, Intertwined (Wertz/Cohen), Chopin Meets Abach (Cohen), Manhattan in the Rain (Duncan Lamont) hold similar qualities, yet somehow more personal. For Intertwined and Chopin Meets Abach, Wertz delivers soft, breath-like, intimate, and intricate, yet powerful wordless vocals. Her ability to story-tell, as if we are right there with her in the rain (Manhattan in the Rain), is wonderfully captivating. Jazz vocalist Danielle Wertz has already gained national recognition as one of the next generation’s leading voices in jazz. Semi-Finalist in the illustrious Thelonious Monk International Jazz Vocals Competition, she was the inaugural winner of the Washington Women in Jazz Festival Young Artist Contest. Danielle is a recipient of several other accolades including the Outstanding Jazz Performance Award in the DownBeat 38th Annual Student Music Awards. Tal Cohen’s unique piano style owes its roots to the Jewish folk songs and classical music he played in his formative years growing up in Israel. Pianist Tal Cohen is a creative, imaginative muse throughout the entire album. His acute sensitivity and understanding of the music, lyrics, emotions, and whatever the musical moment may need of him, creates a masterful musician; a brave soul. “This album is the product of lovers of music, ego-less brave souls, coming together to serve a musical moment. Allow yourself to melt...