| | Judy Wexler Dreams & Shadows CD Judy Wexler Discography of CDs
 (1 Customer Review)
Rare is the jazz vocal CD that makes one stand up and take notice on the first hearing. But Judy Wexler achieves that reaction with her brilliant Dreams & Shadows, in part due to her instinctive ability to bring out the best in each song, often taking it into unfamiliar territory. The inventive arrangements by pianists Alan Pasqua and Jeff Colella (who alternate at the keyboard) are also an important factor, along with their use of key soloists to add flavor to each chart. There are a number of familiar favorites: the driving post-bop setting of "Comes Love" utilizing Colella's altered harmonies; "If I Only Had a Brain" with Wexler's playful vocal accented by the bird-like chirps of Bob Shepherd's soprano sax; and Sonny Rollins' "Pent Up House," newly fitted with Jack Prather's lyrics and featuring Wexler's deft re-creation of Rollins' original solo. Several songs come from the world of pop. Wexler's sensitive handling of Pasqua's haunting arrangement of "One Less Bell to Answer" (a hit for the 5th Dimension) and the sassy bossa nova scoring of "Spooky" (popularized by the long forgotten Classics IV) accented by Gilbert Castellanos' sinewy muted trumpet are examples of looking for material in unexpected places. Her sensual rendition of Victor Young's "Dreams & Shadows (Delilah)" and engaging scatting in Jerome Kern's "In Love in Vain" revive two gems by two masters of the Great American Songbook. Judy Wexler deserves widespread recognition for her outstanding CD. ~ Ken Dryden
Liner Note Author: Neil Tesser.
Recording information: Entourage Studios, Hollywood, CA; Visual Rhythm Studio.
Arrangers: Alan Pasqua; Jeff Colella.
Personnel: Judy Wexler (vocals); Judy Wexler; Bob Sheppard (bass clarinet, woodwinds, soprano saxophone, alto saxophone, tenor saxophone); Darek Oles (bass instrument); Stefanie Fife (cello); Tollak Ollestad (harmonica); Gilbert Castellanos (trumpet); Jeff Colella, Alan Pasqua (piano); Joe La Barbera, Steve Hass (drums).
Audio Mixers: Chandler Harrod; Carlos Del Rosario.
Judy Wexler Dreams & Shadows Songs Dreams & Shadows Music Review Purchase Dreams & Shadows CD To buy, Click on price to add to cart | Peisha McPhee Out Of The Blue CD (1997)
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When one applies for a job, sometimes the response is that you're overqualified. The same may be the case for Peisha McPhee. Her classically trained, strong, clear voice of operatic proportions doesn't always fit well with the songs on the play list, songs that require somewhat more vocal dynamics than McPhee gives. Trying hard as she can to restrain her powerful voice, she comes on too strong for such pop material as "Ill Wind" and "Little Girl Blue," which require greater subtlety than McPhee provides. At the same time, her voice and demeanor go well with songs that have a strong emotional tug, such as "Who Can I Turn To?" There's also a cleverly contrived dubbed a cappella ...
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The term "world fusion" is generally used in reference to Western musicians who put a superficial gloss of exotica on otherwise pop-sounding song structures. An artist like Calcutta-born Debashish Bhattacharya brings new depth to the concept of "fusion" by mastering slide guitar (historically the realm of Hawaiian folk music and the American blues) and bringing that classic bottleneck technique to instruments like the ukulele, the 22-stringed Chaturangui, and the 14-stringed Ghandarvi. The resulting music is a haunting melange of Indian classical traditions, Hawaiian folk music, the blues, and Bhattacharya's own imagination. The slide guitarist's 2008 studio release is a unique offering ...
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Presenting Bernie Game (The Art of the EWI), the newest release on his own Bernup label, Bernie Kenerson brings listeners a contemporary Jazz/Groove record with innovation at its core. The foremost authority of the AKAI EWI 4000s (that's synth heaven for horn players), Kenerson has been progressing as an electric wind instrumentalist for 30 years now-and it shows.Bernie Game showcases the chops of a veteran jazzer composing with a maturity not often heard in contemporary 'electric' Jazz. Kenerson explains, 'I definitely came of age as a player during the 'fusion revolution' era of the 70s, and you'll hear that influence both in my playing and in my composition. But what I ...
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