If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Dutch vocalist Digna Janssen and guitarist Johan Smeets (Jodymoon) won an important award in December 2007 at the annual "Grote Prijs van Nederland" contest for popular music. They came in second after jazzy singer-songwriter Leine from Amsterdam, but won the Kink FM Public Award with an overwhelming majority of votes. Janssen and Smeets are both trained jazz musicians, Smeets even graduated cum laude at the Hilversum Conservatory.
2001 was a special year for Janssen; not only did she win some of the most prestigious Dutch jazz awards out there (one for her composition Change Is Gonna Come, download available with kind permission of Digna Janssen), she also got to know Smeetswhom she knew from the local and regional music scenea lot better when he started taking singing lessons from her at the music school where she worked as a teacher. They fell in love, changed their musical course and founded the rock-oriented band Rosenfeld with some of their friends.
After 5 successful years they decided to go 'back to basics' and continue as a duo. Their debut album Look At Me Look At Me Don't Look At Me (2006) was well received and the follow-up, Never Gonna Find It In Another Story (2008) may even surpass the quality of the duo's debut as the alternative pop-scented Jodymoon. Their sound is mature, powerful, balanced and sincere. Twelve original compositions offer the imagery of emotion, lucid observation and contemplation, without false sentiments.
The album starts with "I'm Here," the song's dramatic appearance prepares the listener for what's yet to come. "Sleepless Laura" overwhelms from the very beginning and takes reign, showing equal space for the duo's individual qualities as a singer and guitarist, as well as what brings and connects them together. It's the unmistaken chemistry of Jodymoon, abundant and rich in simplicity and regularity, but also recognizable and unpredictable at the same time. "The Maiden In The Tower" flirts with the extravaganza known from theatrical arts in creative and cinematic arrangements, like this whole album is a surprise because of its huge impact using simple means. Not much ado, but intuitively perfect sounds of a shaker, the tambourine, the Wurlitzer, the Mellotron or an old harmonium at the right time.
"Feed Me Love" pays subtle homage to Janssen's past as a jazz vocalist (as do "Sleepless Laura," "You're Not Here" and "I Will Get Back" which have some of that jazzy phrasing) and Smeets proves to be a multi- instrumentalist by nature, with clever nods to some of his musical heroes like Jimi Hendrix and David Gilmour. Film director Pedro Almodovar personally gave permission to use an audio excerpt from his movie "Volver" for the song "Your Return," which perhaps indicates that the creative forces and musical vision of Jodymoon are right on track.
Track Listing: I'm Here; Sleepless Laura; The Maiden In The Tower (inspired by fairytale 'Rapunzel'); Playing Around; Feels Like
A Mistake; Feed Me Love; Your Return (inspired by the movie 'Volver'); No Time; Let's Wait; A Song For Two; I
Will Get Back; For Those Who Stay; You're Not Here (bonustrack, remixed version single from debut album).
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!