Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 67:21
Size: 155,7 MB
Art: Front
(4:09) 1. Dont Let Me Be Lonely Tonight
(4:26) 2. The Fool On the Hill
(2:45) 3. Should We or Should We Not
(6:05) 4. Im a Fool to Want You
(4:02) 5. Subterranean Dream
(4:56) 6. Echoes of a Landscape
(4:07) 7. Never Let Me Go
(4:00) 8. Straight Ahead
(2:56) 9. Cant We Be Friends
(4:55) 10. 50 Ways to Leave Your Lover
(4:55) 11. Infant Eyes
(4:51) 12. Cant Find My Way Home
(5:09) 13. The Island (Começar de novo)
(4:39) 14. Whispers With the Wind
(5:19) 15. Winter Sweet
Year: 2007
File: MP3@320K/s
Time: 67:21
Size: 155,7 MB
Art: Front
(4:09) 1. Dont Let Me Be Lonely Tonight
(4:26) 2. The Fool On the Hill
(2:45) 3. Should We or Should We Not
(6:05) 4. Im a Fool to Want You
(4:02) 5. Subterranean Dream
(4:56) 6. Echoes of a Landscape
(4:07) 7. Never Let Me Go
(4:00) 8. Straight Ahead
(2:56) 9. Cant We Be Friends
(4:55) 10. 50 Ways to Leave Your Lover
(4:55) 11. Infant Eyes
(4:51) 12. Cant Find My Way Home
(5:09) 13. The Island (Começar de novo)
(4:39) 14. Whispers With the Wind
(5:19) 15. Winter Sweet
Stephanie K has emerged like the Venus of jazz“ with a fully-developed style that is more in keeping with that of a veteran artist. Her voice has a presence that immediately captures your attention, drawing you into her sphere of musical influence, emitting flashes of Aretha Franklin, Carol King, Diana Krall and Billie Holiday. But Stephanie K is no derivative jazz singer; she is a true original (understand that she had never even heard Anita O'Day as recently as a year ago). And she has at her command an impressive level of musicianship, with the phrasing, intonation and time sense of the seasoned jazz musician. That she came by all this as a mother of four living in Northern Germany for the past thirteen years is powerful testament to her natural abilities. Stephanie K's musical tastes run to rich, rarely-heard ballads that are brought to life by her torchy vocal style, fresh renderings of canonical popular tunes and vivid transformations of chestnuts from the American songbook.
This album, the first to be produced in Stephanie K's native U.S.A., is a book that is hard to put down; from the first phrase, you can't wait to hear where it will go next. She is joined here by an impressive group of young New York musicians. Most notable are pianist Aaron Goldberg, bassist Reuben Rogers and guitarist Ryan Scott, who create a nearly perfect complement to Stephanie's vocal style, surrounding her with a rich texture that rarely intrudes, expanding on her implicit harmonic and rhythmic statements. Highlights include her intimate rendering of James Taylor's "Don't Let Me Be Lonely Tonight", the lush, haunting "I'm a Fool to Want You" and "Straight Ahead", a tune by the legendary Mal Waldron. In his remarkable solo on "Straight Ahead", Goldberg seems to channel the composer, with an uncanny recreation of Waldron's distinctive left-hand-centric piano style. "Can't We Be Friends" begins with a near-telepathic duo with bassist Rogers, establishing once and for all Stephanie K's considerable musical chops. A growing passion for writing her own tunes and lyrics is reflected here in three original compositions: the feisty "Should We or Should We Not", an impressionistic "Subterranean Dream" and the eerily cool "Whispers With the Wind". Her talents as a lyricist are also evidenced in her version of Wayne Shorter's classic "Infant Eyes", a performance that perhaps best characterizes her unique fusion of jazz and torch styles. Stephanie K's American recording debut is destined to capture the attention of the jazz public: if you play this CD and don't find yourself possessed by her music, you had better have your hearing checked.
A project which began with a few e-mails exchanged between Japan, NY and Switzerland in October of last year, culminated in the NY recording of the CD "Subterranean Dream". Together with co-producers Reuben Rogers (bass) and Aaron Goldberg (piano), a pencil sketch of 15 songs were selected. Goldberg's predominate arrangements primed the canvas for a collage of standards, Stephanie K. originals, and pop tunes. Through inspired intros and fresh motifs, the collective vision of Rogers and Goldberg created a rich soundscape. Drummer Eric Harland was called in for some defining lines and delicate, yet colorful brush strokes, and the solo skills of saxophone master John Ellis and guitarist Ryan Scott added depth and perspective. Within the framework of this polished jazz combo, that explores both texture and space, vocalist Stephanie K. is allowed the freedom to blend in and stand out at will. Her choice of standards and pop tunes are as soulfully interpreted as her heartfelt original compositions, and her melancholic timbre lends a dreamlike quality to this multi-dimensional portrait of sound.
This album, the first to be produced in Stephanie K's native U.S.A., is a book that is hard to put down; from the first phrase, you can't wait to hear where it will go next. She is joined here by an impressive group of young New York musicians. Most notable are pianist Aaron Goldberg, bassist Reuben Rogers and guitarist Ryan Scott, who create a nearly perfect complement to Stephanie's vocal style, surrounding her with a rich texture that rarely intrudes, expanding on her implicit harmonic and rhythmic statements. Highlights include her intimate rendering of James Taylor's "Don't Let Me Be Lonely Tonight", the lush, haunting "I'm a Fool to Want You" and "Straight Ahead", a tune by the legendary Mal Waldron. In his remarkable solo on "Straight Ahead", Goldberg seems to channel the composer, with an uncanny recreation of Waldron's distinctive left-hand-centric piano style. "Can't We Be Friends" begins with a near-telepathic duo with bassist Rogers, establishing once and for all Stephanie K's considerable musical chops. A growing passion for writing her own tunes and lyrics is reflected here in three original compositions: the feisty "Should We or Should We Not", an impressionistic "Subterranean Dream" and the eerily cool "Whispers With the Wind". Her talents as a lyricist are also evidenced in her version of Wayne Shorter's classic "Infant Eyes", a performance that perhaps best characterizes her unique fusion of jazz and torch styles. Stephanie K's American recording debut is destined to capture the attention of the jazz public: if you play this CD and don't find yourself possessed by her music, you had better have your hearing checked.
A project which began with a few e-mails exchanged between Japan, NY and Switzerland in October of last year, culminated in the NY recording of the CD "Subterranean Dream". Together with co-producers Reuben Rogers (bass) and Aaron Goldberg (piano), a pencil sketch of 15 songs were selected. Goldberg's predominate arrangements primed the canvas for a collage of standards, Stephanie K. originals, and pop tunes. Through inspired intros and fresh motifs, the collective vision of Rogers and Goldberg created a rich soundscape. Drummer Eric Harland was called in for some defining lines and delicate, yet colorful brush strokes, and the solo skills of saxophone master John Ellis and guitarist Ryan Scott added depth and perspective. Within the framework of this polished jazz combo, that explores both texture and space, vocalist Stephanie K. is allowed the freedom to blend in and stand out at will. Her choice of standards and pop tunes are as soulfully interpreted as her heartfelt original compositions, and her melancholic timbre lends a dreamlike quality to this multi-dimensional portrait of sound.
To vocalist Stephanie K., each song tells a unique story, one which she spins with the threads of her own life and offers with emotion to her audience. Her sultry voice can hover somewhere between nostalgia and melancholy, only to surprise her listeners with a fast talking tale laced with wit and innuendo. (to be continued here: http://www.cdbaby.com/cd/stephaniekmusic)