by Jerome Wilson
Pianist Ran Blake has a long track record of collaborations with vocalists starting over 50 years ago when he made the album The Newest Sound Around with Jeanne Lee and continuing in the years since in recordings with Chris Connor, Christine Correa and Sara Serpa among others. This is his second meeting on disc with his fellow instructor at the New England Conservatory, Dominique Eade. The first, Whirlpool, fit snugly in with Blake's prominent film noir interests. This remarkable new ...read more
by Jim Santella
The jazz duo allows a vocalist to communicate with her audience more completely than any other format, since you get the pure essence of her voice along with just enough accompaniment to matter. This works quite well with a talented singer such as Dominique Eade, one of the best that jazz has to offer. She's sincere in her approach to this program, making the most of every phrase. Her superb vocal flexibility shows up on each track as she reaches ...read more
by Michael P. Gladstone
If you were to ask a group of emerging jazz vocalists in New York who they were influenced or taught by, a surprising number would mention Mark Murphy or Dominique Eade. Certainly, Murphy's long career and many awards do not make him a surprise choice, but what of Dominique Eade?
As the child of an Air Force officer father and a Swiss mother, Eade spent her youth in Europe living on different military posts. In high school, her ...read more
by Ken Dryden
One of the most intriguing singers to emerge on the jazz scene during the 1990s was Dominique Eade, a gifted, chance-taking alto with a very expressive voice. Her considerable abilities as a composer and arranger, and her desire to seek deserving but less frequently performed songs, along with surrounding herself with top-flight musicians add to her appeal.
Eade has made only four CDs as a leader, two for Accurate and two for RCA, all of which seem to ...read more
by Jack Bowers
The review in a moment. First, the nit–picking. When a singer has such first–class material as “Let’s Take the Long Way Home,” “Baltimore Oriole” or even “Anywhere I Wander” to choose from, why would he or she open an album, as Dominique Eade does, with something as hackneyed as Elton John / Bernie Taupin’s “Come Down in Time”? If you have a logical answer, drop me a line. I can’t figure it out. Perhaps she intended to pave the way ...read more