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Oakland-based vocalist Suzanna Smith states that she is, ..." always looking for ways to play within the boundaries of a song's 'container,...' I think of songs as rooms and the longer you live in them, the more you can move about without bumping into things. I love when I reach that point with a song." She illustrates this aurally in her carefully considered standards like Legrand and Bergman's "Summer Me, Winter Me," King, Young, and Van Alstyne's "Beautiful Love," and Schwartz and Dietz's "Alone Together."
Smith joins Dorian Devins (The Procrastinator (Self Produced, 2013)) as a new generation of lyricists penning words to jazz standards. Smith opens Halfway Between Heaven & Love with a mash-up of Tadd Dameron's "Ladybird" with Miles Davis' "Half Nelson," while closing with a warm and breezy interpretation of Dexter Gordon's "Soy Califa," replete with tenor saxophone accompaniment by Michael O'Neill, spinning LTD lines in the sand.
Smith, with Coleman, prove the composing juggernaut, producing music with a slight sepia tone ("Comet") and a winsome sense of humor ("Monk's Make Belief"). The original compositions meld well stylistically with the well-chosen standards and the original adaptations. Halfway Between Heaven & Love is a strong debut by an artist who is more than ready to come forward and be recognised.
Track Listing: Ladybird/Half Nelson; Paper Boat; Summer Me, Winter Me; The Man That
Broke The Dragon’s Heart; Beautiful Love; Planes and Trains; Can You
Give It Up; Comet; Monk’s Make Believe; I Would Give Anything; Hooray
For Love; Alone Together; Soy Califa.
Personnel: Suzanna Smith: vocals; Michael Coleman: keyboards; Ken Husbands:
guitar and bouzouki; Michael O’Neill: saxophone and clarinet; Brandon
Essex: acoustic bass; Hamir Atwal: Drums; Jon Arkin: drums; Rob Ewing:
trombone; Cory Wright: saxophone, clarinet & flute; Jordan Glenn:
percussion and marimba; Mark Allen-Piccolo: electric bass.
Year Released: 2013
| Record Label: Ink Pen Records
| Style: Vocal
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.