Renaissance men and women still exist. For example, the intrepid Dr. Leonisa Ardizzone is the executive director of The Salvadore Center, a non-profit educational organization centered in New York city dedicated to educating young students and their teachers about architecture, structural engineering and urban design. In addition to her scholarly and philanthropic pursuits, Ardizzone is a wife, mother and...jazz musician. That is an embarrassment of riches.
Ardizzone has self-produced and released two recordings since 2007, Afraid of the Heights in that year and the recently offered The Scent of Bitter Almonds.
- All About Jazz – C. Michael Bailey
Like Norah Jones between her first and second recordings. Leonisa Ardizzone relaxes on The Scent of Bitter Almonds. Throughout the disc's twelve songs, Ardizzone explores the breathier elements of her voice, almost crooning the opening "My Romance." She does this with the addition of pianist Jess Jurkovic, who makes her previous quartet a quintet. Jurkovic's presence frees guitarist Jennings to pursue more melodic goals, like his fine filigree playing on the exceptional "Midnight Sun."
But it is Ardizzone who shows the most growth since her previous Afraid of the Heights. Her scat and vocalese are more controlled, particularly on Clifford Brown's "Joy Spring" (scat) and McCoy Tyner's "Blues on the Corner." While confident on Afraid of the Heights, Ardizzone reaches a sensual critical mass on The Scent of Bitter Almonds. "Willow Weep for Me" and "Take the A Train" both exude pheromones that increase the humidity of the music substantially.
Jennings provides Ardizzone with several original compositions, including the clever-sexy "Falling Down" and "Queen of the Universe." Ardizzone penned "The Architect's Lament," a tome honoring the object of her vocation, and Hines followed up his funny "Afraid of the Heights" with "Scary Face," a cross between "Hit The Road Jack" and a Berlin cabaret song gone horribly right. Jurkovic's meandering piano is a joy, infusing the song with rich amounts of whimsy and fun. Ardizzone and company take themselves just seriously enough to make some seriously great music that amply entertains.
Jennings provides Ardizzone with several original compositions, including the clever-sexy "Falling Down" and "Queen of the Universe." Ardizzone penned "The Architect's Lament," a tome honoring the object of her vocation, and Hines followed up his funny "Afraid of the Heights" with "Scary Face," a cross between "Hit The Road Jack" and a Berlin cabaret song gone horribly right. Jurkovic's meandering piano is a joy, infusing the song with rich amounts of whimsy and fun. Ardizzone and company take themselves just seriously enough to make some seriously great music that amply entertains.
-
Ardizzone is one of those pure artists that kicks it out for the pure joy of doing so. A vocalist with deep chops,
she takes equal delight in bringing something new to chestnuts or just doing something new from a co-hort. With a sympathetic crew backing her up, this is a wonderful date for anyone on the prowl for a new jazz vocalist that brings nothing but the right stuff to the table.
- Midwest Record by Chris Spector
Following up her promising debut of ‘Afraid Of Heights’, Leonisa Ardizzone mixes her sandy-toned voice with the alacric quartet of Chris Jennings/g, Jess Jurkovic/p, Bob Sabin/b and Justin Hines/d to create a worthy sophomore release.
Mixing iconoclastically arranged standards with catchy originals, Ardizzone and company are as comfortable breezing through a quicksilver “Joy Spring” as they are skipping along Jennings’ folksy “Falling Down.” The band shakes the sockets as Hines and Jennings electrify their take of “Midnight Sun”, while Ardizzone soars over the celestial scene like Tinkerbell. Jennings’ boppish “Queen of The Universe” features some tongue-tying vocals readily handled by Ardizzone, as well as some fancy finger work by Jurkovic. A welcome follow-up by a band that needs a ticket to the Best Coast.
- Jazzweekly.com - George W. Harris
Leonisa Ardizzone has a sweetly swinging vocal style and is ably backed by a fine Quintet. "Joy Spring" Ardizzone opens with some cool scatting on the hottest track on this album.
Jurkovic at the ivories solos brilliantly. This tune has a message which in essence says that this is the format that allows this group to express themselves most emphatically. This song moves along gracefully without that incessant drum beat found on other tracks. "Willow Weep For Me" showcases Ardizzone's ballad style with a touch of the blues. The percussion could be smoother but the vocal and the other
musicians rise above the choppiness. The drumming could be a bit less obtrusive which detracts from the vocals. the beat does not match the intent of a tune such as "Well You Needn't"...Perhaps the drums should have taken a back seat and stuck to a supporting role. Leonisa Ardizzone is a seasoned performer who has all the equipment and uses it well. A more traditional approach might allow her to stretch out even more.
4 Stars
musicians rise above the choppiness. The drumming could be a bit less obtrusive which detracts from the vocals. the beat does not match the intent of a tune such as "Well You Needn't"...Perhaps the drums should have taken a back seat and stuck to a supporting role. Leonisa Ardizzone is a seasoned performer who has all the equipment and uses it well. A more traditional approach might allow her to stretch out even more.
4 Stars
- Ejazznews by John Gilbert
Leonisa is a very sensitive and soft-toned singer who doesn’t try to put on any affectations in her delivery—she lets the melody speak for itself...
“The Scent of Bitter Almonds” is Leonisa’s second release as a leader. As described on her website, “it reflects a personally tumultuous year for Leonisa that saw the temporary dissolution and subsequent renewal of her twelve year marriage. The song choices, arrangements, and overall feel of the music reveal the heartbreak, uncertainly, loss, passion and rediscovery of that period.” The song selection stays varied throughout, giving the record a good arch. Along with a nice mix of standards, guitarist Chris Jennings adds his compositional input with three unique originals that seem to be tailor made for the recent struggles in the love life of the leader. The titles represent the sounds well - “Falling Down,” “On the Ropes,” and “Queen of the Universe”. Jennings also proves to be a very good accompanist. Ardizzone’s pen contributes “The Architect’s Lament,” and lyrics for McCoy Tyner’s “Blues on the Corner.”
Leonisa is a very sensitive and soft-toned singer who doesn’t try to put on any affectations in her delivery—she lets the melody speak for itself.. On the second track, the guitar and vocals make for a perfect duo on Jennings’ folky and well written “Falling Down” while the percussion of Justin Hines is at times very syncopated and incongruent with the simplicity of the vocals and guitar. However, this seems to heighten the sense of “tripping” or “falling down” that Leonisa sings about. If intentional, I give her credit for being adventurous and artful. It made for an intense effect. “Midnight Sun” features almost tribal sounding percussion work from Hines, and an opening verse without harmonic accompaniment that highlights the beautiful melody. Guitarist Chris Jennings creates some very engaging colors and moods in his guitar solo, intensified by the digital delay and reverb that he uses. The closing percussion and drum solo is one of the highlights of the disc. Ardizzone sings wonderfully on “Take the A Train.” Jennings plays beautiful Hawaiian style sounds as accompaniment to her but as soon as the piano comes in, I could hardly hear him until he returned for a solo. McCoy Tyner’s quirky “Blues on the Corner” showcases Leonisa’s ability to sing tough intervals. Ardizzone is a wonderfully pleasant singer who has a most inviting voice.
Leonisa is a very sensitive and soft-toned singer who doesn’t try to put on any affectations in her delivery—she lets the melody speak for itself.. On the second track, the guitar and vocals make for a perfect duo on Jennings’ folky and well written “Falling Down” while the percussion of Justin Hines is at times very syncopated and incongruent with the simplicity of the vocals and guitar. However, this seems to heighten the sense of “tripping” or “falling down” that Leonisa sings about. If intentional, I give her credit for being adventurous and artful. It made for an intense effect. “Midnight Sun” features almost tribal sounding percussion work from Hines, and an opening verse without harmonic accompaniment that highlights the beautiful melody. Guitarist Chris Jennings creates some very engaging colors and moods in his guitar solo, intensified by the digital delay and reverb that he uses. The closing percussion and drum solo is one of the highlights of the disc. Ardizzone sings wonderfully on “Take the A Train.” Jennings plays beautiful Hawaiian style sounds as accompaniment to her but as soon as the piano comes in, I could hardly hear him until he returned for a solo. McCoy Tyner’s quirky “Blues on the Corner” showcases Leonisa’s ability to sing tough intervals. Ardizzone is a wonderfully pleasant singer who has a most inviting voice.
- Jazz Improv NY By Ray Hoffman
Perhaps one of the hardest-working women I’ve run across. Ms. Ardizzone is a parent; a teacher and educator, writer…well, she’s got a busy resume. Go. Google. You’ll see. But she says it’s music and entertaining that “feeds her soul.”
This is a nice sophomore offering from Ms. Ardizzone, now fronting a Quintet. It’s a nice mix of standards and new material - material she says “reflects a personally tumultous year…” I listened to the lyrics of this set, and just tried to imagine. It can make you laugh, or cry.
At any rate, Ms. Ardizzone once again hits the mark, surrounded by a great backing group - Chris Jennings on guitar, Justin Hines on percussion, Bob Sabin on Bass, and Jess Jurkovic (the new guy) on piano.
Ms. Ardizzone’s voice won’t overpower; instead, she stays well within the envelope, blending seamlessly with the rest of the group. They’ve been together for more than a while, and that kind of familiarity with each other shows. She says she considers herself “part of the group,” and that’s what it sounds like here, out of the big speakers, on the end-user side.
Engaging and endearing - through her choice of material and her way with a lyric, you’ll feel like you’ve made a new friend.
Good stuff.
At any rate, Ms. Ardizzone once again hits the mark, surrounded by a great backing group - Chris Jennings on guitar, Justin Hines on percussion, Bob Sabin on Bass, and Jess Jurkovic (the new guy) on piano.
Ms. Ardizzone’s voice won’t overpower; instead, she stays well within the envelope, blending seamlessly with the rest of the group. They’ve been together for more than a while, and that kind of familiarity with each other shows. She says she considers herself “part of the group,” and that’s what it sounds like here, out of the big speakers, on the end-user side.
Engaging and endearing - through her choice of material and her way with a lyric, you’ll feel like you’ve made a new friend.
Good stuff.
- Girl Singers.com by Doug Boynton
As the executive director of the Salvadori Center, a charitable New York educational foundation, Leonisa Ardizzone is making a real difference in kids' lives. In her alternate life as the leader of the Leonisa Ardizzone Quintet, the talented jazz artist proves that she's a multi-tasker with few equals.
Her new album, The Scent Of Bitter Almonds, a follow-up to 2006's Afraid of the Heights, gives listeners a chance to catch up with her current efforts on the musical side of things.
That earlier album's quartet has now become a quintet with the addition of pianist Jess Jurkovic, who joins Ardizzone and her previous band-mates, guitarist Chris Jennings, bassist Bob Sabin, and drummer/percussionist Justin Hines. The group, which has been appearing around the New York area, is a solid ensemble with nice balance.
Ardizzone had some ups and downs personally during the year, and she admits that many of her choices for inclusion on the album reflect some of that conflict - as does the title of the album itself. In any case, it's a collection of a dozen tracks, with five of those new pieces by the band's members and the balance made up of established songs, mostly standards.
Included among them are some familiar tunes, such as "My Romance" and "Midnight Sun," both good vehicles for Ardizzone's singing style, which is straight-ahead and melodic - reminiscent of early jazz songbirds. On the latter piece, a track that runs almost eight minutes, her sidemen get in some nice solos with Hines' percussion especially nicely done. On the opposite side of the coin, the group's interpretation of Ellington's classic,"Take The 'A' Train," was my least favorite.
The five compositions by the band's members (three by Jennings, one each by Hines and Ardizzone) were a mixed bag, with my favorite probably Jennings' "On The Ropes," which features some nice keyboard work by Jurkovic in addition to Ardizzone's soft vocalizing. A nice follow-up album from the singer and her group - and well worth a listen if you enjoy the sound of traditional jazz, complete with a songbird.
That earlier album's quartet has now become a quintet with the addition of pianist Jess Jurkovic, who joins Ardizzone and her previous band-mates, guitarist Chris Jennings, bassist Bob Sabin, and drummer/percussionist Justin Hines. The group, which has been appearing around the New York area, is a solid ensemble with nice balance.
Ardizzone had some ups and downs personally during the year, and she admits that many of her choices for inclusion on the album reflect some of that conflict - as does the title of the album itself. In any case, it's a collection of a dozen tracks, with five of those new pieces by the band's members and the balance made up of established songs, mostly standards.
Included among them are some familiar tunes, such as "My Romance" and "Midnight Sun," both good vehicles for Ardizzone's singing style, which is straight-ahead and melodic - reminiscent of early jazz songbirds. On the latter piece, a track that runs almost eight minutes, her sidemen get in some nice solos with Hines' percussion especially nicely done. On the opposite side of the coin, the group's interpretation of Ellington's classic,"Take The 'A' Train," was my least favorite.
The five compositions by the band's members (three by Jennings, one each by Hines and Ardizzone) were a mixed bag, with my favorite probably Jennings' "On The Ropes," which features some nice keyboard work by Jurkovic in addition to Ardizzone's soft vocalizing. A nice follow-up album from the singer and her group - and well worth a listen if you enjoy the sound of traditional jazz, complete with a songbird.
- Blog Critics by Big Geez
Leonisa Ardizzzone has a new album out, and like her initial recording, Afraid of the Heights, the scent of bitter almonds…is an intriguing listening experience. She once again has Chris Jennings on guitar, Bob Sabin, who is replaced on several tracks by Bob Bowen, on bass and Justin Hines on drums, with Jess Jurkovic along on piano for this recording. This is not simply a vocalist working with a trio, but, as is the case with the widely popular Tierney Sutton Band, Ardizzone seamlessly integrates her vocalizing into the overall musical mix. Ardizzone is a vocalist who thrives on digging into challenging material, and she graduates with honors.
The program combines standards like “My Romance”, “Midnight Sun”, and “Willow Weep for Me” with jazz tunes such as “Joy Spring”, “Well You Needn’t” and “Blues on the Corner”, a McCoy Tyner selection with words added by Ardizzone. Ardizzone also garners full creating credits on “The Architect’s Lament”, while Jennings contributed “Falling Down”, “On the Ropes”, and “Queen of the Universe” and Hines wrote “Scary Face”. Leonisa Ardizzone is a singer with an adventurous spirit, and the intelligence and chops to execute her imaginative vision.
- Jersey Jazz
Une volonté de tropicaliser certains airs (« Take the ‘A’ Train »), de rechercher des variations alambiquées sur certains autres (« Midnight Sun»), de laisser la place aux musicians qui l’accompagnent, notamment Jess Jurkovic au piano, une voix sans grande énergie, mais convaincante, telles sont les caractéristiques de Leonisa Ardizzone, chanteuse de jazz.
C’est un jazz monkien par certains aspects qu’elle chante en laissant, comme dit précédemment, beaucoup de place aux accompagnateurs. Outre le pianiste, il y a aussi le guitariste, Chris Jennings, compositeur de quelques morceaux («Falling Down», «On the Ropes», «Queen of the Universe») bien écrits. Au total, un CD de jazz agréable.
- Jazz Hot 684 - France by Michel Bedin
Leonisa Ardizzone, depending on the song, tends to sound like across between Sade Adu and Carole King, with a touch of Michael Franks. While she is being promoted as a jazz artist, she could easily be a pop or folk artist if she wanted to, as her vocals are quite versatile.
On The Scent Of Bitter Almonds (self-released) she performs with her quintet through a nice range of material, including “Take The A Train”, “”Well You Needn’t”, “Scary Face” (written by her drummer, Justin Hines, “On The Ropes” (written by her guitarist, Chris Jennings, and her own “The Architect’s Lament”. Her voice is very lively, able to create an instant mood without any vocal theatics that often make some jazz singers go beyond overboard. She is subtle yet effective, and with a quintet that includes Hines, Jennings, Bob Bowen (bass), Bob Sabin (bass), and Jess Jurkovic (piano), they allow each other to challenge and take each other into places often unexpected. “Midnight Sun” is a song that one could easily find Steely Dan pulling off. I was at first put off by the drum solo in the song, which is odd for me since I’m a huge fan of them (drum solos that is), but it made me think of the song in a rock fashion where it’s thrown in as a way to create an unexpected sense of momentum. Hines does that before the quintet goes right back into the theme of the song again before it feels as if they pulled the plug unexpectedly, Ellington-style. The Leonisa Ardizzone Quintet sound like a group I would enjoy in a live setting, and it would have been a nice bit of extra if she had added a live recording as a bonus track (maybe next time). The Scent Of Bitter Almonds is a vocal jazz album that doesn’t get stale during its duration, which for me is a very good thing.
- Book’s List by John Book
After
a listen to this exciting new jazz vocalist's debut, my first thoughts were
where did Leonisa Ardizzone come from and where has she been?
The New
York singer actually has a rather impressive position as the
Executive Director of the Salvatore
Center, a not-for-profit
organization that uses the built environment to instruct teachers and children
about architecture, engineering and urban planning.
Although this album is just released, the same group has been performing together for eight years. The session begins with a fresh version of Charlie Parker's “Anthropology” with what sound like new lyrics penned by someone named Harrison, distinctly not the better known Eddie Jefferson version. Anyway, Ardizzone's perky reading starts with a unison introduction featuring her voice and guitarist (and husband) Chris Jennings. When the rest of the group joins in, the mood has been fully set and Ardizzone switches to full-tilt scat.
She follows with a delicious paean to her New York home in Washington Heights, the urban enclave at the upper end of Manhattan near the George Washington Bridge. A very clever set of lyrics, written by drummer Justin Hines, reports that “...If you come and visit me, you may think it's Albany / Way up here in Washington Heights....You may be surprised to see that we've got electricity / Way up here in Washington Heights....You may think it's Timbuktu, but we've got Starbucks just like you / Way up here in Washington Heights...”
Four of the ten selections are from the Great American Songbook, including an up tempo version of Kosma/Mercer's “Autumn Leaves,” for which Ardizzone adds additional lyrics about the changing foliage vis-à-vis the view of the Hudson River. She renders the Jobim classic “Triste” very nicely in Portuguese and one of two originals by the singer, “I Got Lucky,” has a tasty contemporary sound.
Finally, the Rahsaan Roland Kirk/Charles Mingus jazz standard “Goodbye Pork Pie Hat” emerges with new and original lyrics by Ardizzone. I've been listening to the Mingus lyrics for so long now that I was surprised to hear how refreshing these new ones can be. It is definitively not the underdog suffering that Lester Young had to endure in the Mingus lyrics, but it works just fine. This is a short but very sweet new notice of an arrival on the jazz vocal scene!
Although this album is just released, the same group has been performing together for eight years. The session begins with a fresh version of Charlie Parker's “Anthropology” with what sound like new lyrics penned by someone named Harrison, distinctly not the better known Eddie Jefferson version. Anyway, Ardizzone's perky reading starts with a unison introduction featuring her voice and guitarist (and husband) Chris Jennings. When the rest of the group joins in, the mood has been fully set and Ardizzone switches to full-tilt scat.
She follows with a delicious paean to her New York home in Washington Heights, the urban enclave at the upper end of Manhattan near the George Washington Bridge. A very clever set of lyrics, written by drummer Justin Hines, reports that “...If you come and visit me, you may think it's Albany / Way up here in Washington Heights....You may be surprised to see that we've got electricity / Way up here in Washington Heights....You may think it's Timbuktu, but we've got Starbucks just like you / Way up here in Washington Heights...”
Four of the ten selections are from the Great American Songbook, including an up tempo version of Kosma/Mercer's “Autumn Leaves,” for which Ardizzone adds additional lyrics about the changing foliage vis-à-vis the view of the Hudson River. She renders the Jobim classic “Triste” very nicely in Portuguese and one of two originals by the singer, “I Got Lucky,” has a tasty contemporary sound.
Finally, the Rahsaan Roland Kirk/Charles Mingus jazz standard “Goodbye Pork Pie Hat” emerges with new and original lyrics by Ardizzone. I've been listening to the Mingus lyrics for so long now that I was surprised to hear how refreshing these new ones can be. It is definitively not the underdog suffering that Lester Young had to endure in the Mingus lyrics, but it works just fine. This is a short but very sweet new notice of an arrival on the jazz vocal scene!
- All About Jazz Online By Michael P. Gladstone
Leading
a tight and bluesy quartet, singer Leonisa Ardizzone has put together a
charming mixture of standards and originals for Afraid of the Heights.
With
Chris Jennings’ electric guitar laying down the melodies, Ardizzone takes her
husky voice through a whirling and tongue twisting tour of “Anthropology” and a
double timed “Autumn Leaves”. Ardizzone
lays on the humor with facility and artistry, sounding ironic as she duets with
bassist Bob Sabin on the opening of “I Got Lucky.” Likewise, she is side-splittingly delightful
on the New Jersey Chamber of Commerce approved “Afraid of the Heights”,
describing the many attractions of the Garden State. The band, like the singer, is flexible and
can turn on a dime. Afraid of the Heights has a nice live feel to it, and everyone is
obviously having a good time with the music.
Afraid of the Heights is a
very well done recording by a singer that shows incredible promise. I expect we shall hear plenty from her in the
very near future.
- All About Jazz – Los Angeles by George Harris
Vocalist Leonisa
Ardizzone shows off a variety of moods and material on this, her debut CD,
where she is joined by Chris Jennings (guitar), Bob Sabin (bass) and Justin
Hines (drums), operating as a group rather than a vocalist with a backing band.
The CD is a
collection of standards and original material by both Hines and Jennings. Most
of the standards are not the overexposed ones, with the exception of “Nature
Boy”. The quartet has been playing together for eight years and is an
expectedly tight unit. Jennings has a linear melodic style, which goes well
with Ardizzone’s voice. Ardizzone has a relaxed way of delivering a song, but
manages to get all of the words out on “Anthropology”, a tongue twister done
uptempo, which features a scat duet with Jennings.
Two original tracks that are notable are the title track (written by Hines) and “I Got Lucky” (written by Bryan McCann, Ardizzone and Jennings). The former is a song about the NYC neighborhood of Washington Heights and is done in a ‘20s style with Jennings performing as ‘banjo player’. The latter is a catchy, well-put together piece of material that could easily make some noise as a crossover pop single.
In a recent mid July performance at The Kitano, the group became a quintet with the addition of pianist Jess Jurkovic. Ardizzone delivered several songs from the CD as well as some standard pieces. Her version of Jobim’s “Triste” included English and Portuguese lyrics and “Nature Boy” started off with a chorus in Italian followed by one in English. Ardizzone has a personable stage presence and, although the intimacy of the CD was somewhat lost with the enlargement of the group, the players had a good time making music together.
Two original tracks that are notable are the title track (written by Hines) and “I Got Lucky” (written by Bryan McCann, Ardizzone and Jennings). The former is a song about the NYC neighborhood of Washington Heights and is done in a ‘20s style with Jennings performing as ‘banjo player’. The latter is a catchy, well-put together piece of material that could easily make some noise as a crossover pop single.
In a recent mid July performance at The Kitano, the group became a quintet with the addition of pianist Jess Jurkovic. Ardizzone delivered several songs from the CD as well as some standard pieces. Her version of Jobim’s “Triste” included English and Portuguese lyrics and “Nature Boy” started off with a chorus in Italian followed by one in English. Ardizzone has a personable stage presence and, although the intimacy of the CD was somewhat lost with the enlargement of the group, the players had a good time making music together.
- All About Jazz-New York by Marcia Hillman
This
is an interesting album with great tunes such as:
"Anthropology" replete with lyrics is swung from the rafters by
vocalist
Leonisa Ardizzone.
Ardizzone has a lovely
textured voice and most importantly she sings in
tune with super phrasing. "Goodbye
Porkpie Hat" is a 'tune noir' as it were. Dark and Parisian is certainly
the byword. “I Got Lucky" has very cool lyrics that tickle the mind. Leonisa
sings the bottom out of every note on this tune and everyone swings easily.
5 Stars.
5 Stars.
- Ejazz News by John Gilbert
Leonisa
Ardizzone proves to be a multi-faceted vocalist on her debut CD.
Initially she launches into a furious vocalese treatment of Charlie Parker's
"Anthropology," then offers the humorous Afraid of the Heights,"
whistling a half chorus as well. The singer's dramatic take of the standard
"Alone Together" is a captivating duet with guitarist Chris Jennings. She adds
lyrics to Charles
Mingus' "Goodbye Porkpie Hat," changing it into a moving
ballad about a departed lover. The breezy "I Got Lucky" is a snappy
original, though another by Jennings, the bluesy
"I'm Not the Same," doesn't hold up quite as well. Bassist Bob Sabin
and drummer Justin Hines also provide excellent support throughout the session.
On occasion a bit too much reverb is added to Ardizzone's vocals, but
that is a minor complaint for her superb debut effort as a leader.
- All Music Guide by Ken Dryden,
L'esordio
della cantante Leonisa Ardizzone è un simpatico disco autoprodotto che si fa
ascoltare con molto piacere.
Fin dal 1994
la Ardizzone lavora insieme al chitarrista Chris Jennings, in duo o con
ritmiche varie. La sua prima passione è stata la musica lirica, che ha studiato
fino a che ha avuto problemi con la voce passando così all'improvvisazione e al
jazz, pur continuando la sua carriera di biologa.
La musicalità della cantante statunitense, la coerenza del gruppo, la carezzevole voce fanno sì che Afraid of the Heights sia un disco dovuto, arrivato nel momento in cui si era maturi per farlo, dopo innumerevoli serate in giro per i club. Il chitarrista Chris Jennings si ritaglia un notevole spazio con assoli misurati ed accompagnamenti molto precisi, perfetto anche su “Alone Together”, brano eseguito in duo con la leader della band. Insieme ad un paio di originals ci sono degli standards e “Antropology” (un tour de force eseguito perfettamente all'unisono da voce e chitarra sulle linee bop di Charlie Parker) e “Goodbye Pork Pie Hat” di Mingus su cui la Ardizzone ha scritto delle liriche che potrebbero essere interessanti anche per le colleghe. Su “Autumn Leaves” si lascia andare ad uno stream of consciouness come ci hanno insegnato cantanti piú famosi, tipo Kurt Elling.
Gli standard eseguiti sono arrangiati con molta cura e così viene fuori un disco cha ha del consueto nelle melodie, e contemporaneamente qualcosa di nuovo nel modo in cui queste vengono interpretate, mai banali o volutamente con gli effetti più facili. Si avverte il fuoco e la passione per il jazz, la capacità professionale degli esecutori, che fanno swingare, caratteristica tipicamente americana, tutto quello che passa per le loro mani, compresa una bossa nova di Jobim che così perde un poco della tipica atmosfera “carioca” diventando più “jazzy”.
La musicalità della cantante statunitense, la coerenza del gruppo, la carezzevole voce fanno sì che Afraid of the Heights sia un disco dovuto, arrivato nel momento in cui si era maturi per farlo, dopo innumerevoli serate in giro per i club. Il chitarrista Chris Jennings si ritaglia un notevole spazio con assoli misurati ed accompagnamenti molto precisi, perfetto anche su “Alone Together”, brano eseguito in duo con la leader della band. Insieme ad un paio di originals ci sono degli standards e “Antropology” (un tour de force eseguito perfettamente all'unisono da voce e chitarra sulle linee bop di Charlie Parker) e “Goodbye Pork Pie Hat” di Mingus su cui la Ardizzone ha scritto delle liriche che potrebbero essere interessanti anche per le colleghe. Su “Autumn Leaves” si lascia andare ad uno stream of consciouness come ci hanno insegnato cantanti piú famosi, tipo Kurt Elling.
Gli standard eseguiti sono arrangiati con molta cura e così viene fuori un disco cha ha del consueto nelle melodie, e contemporaneamente qualcosa di nuovo nel modo in cui queste vengono interpretate, mai banali o volutamente con gli effetti più facili. Si avverte il fuoco e la passione per il jazz, la capacità professionale degli esecutori, che fanno swingare, caratteristica tipicamente americana, tutto quello che passa per le loro mani, compresa una bossa nova di Jobim che così perde un poco della tipica atmosfera “carioca” diventando più “jazzy”.
- All About Jazz, Italia by Vittorio Lo Conte
Leonisa
is a delight. This extraordinary CD has many highlights.
Her vocal of “Alone Together” stands out for its striking purity. With a
slight beat this standard is performed superbly. The 1948 hit by Eden Ahbez
“Nature Boy” is brought back in an exciting rich dazzling interpretation. Wild
glittering voacl swinging is in order here and it’s first class. “You Go To My Head” will take your breath
away. Her vocal is genuinely heart felt.
“Autumn Leaves” is taken at an unusually brisk pace. On top of that
adding the icing on the cake, she create additional stream of consciousness
lyrics which are courageously spectacular.
Her scat vocal of “Anthropology” is creatively flawless and most
energetic.
- In Tune International by Dan Singer
Jazz
singer Leonisa Ardizzone takes us back to the happy days of Swing and fun,
along with plenty of variety. Her vocalese, scat singing, and original lyrics
fit comfortably in the pocket,
while portions of her program fold in Country & Western, Bossa Nova,
ballads and Blues. A portion of “Triste” even ventures into the realm of Smooth
Jazz. She whistles through a portion of the album’s title track, proving that
she values down-home communication with high regard. She adds lyrics to “Autumn
Leaves” that make it quite personal, describing the scenery that she and her
quartet experience around parts of New York City.
With seven standards on her program, Ardizzone moves through the Jazz tradition, grasping the elements naturally. Her vocalese gives “Anthropology” a thrill, pairing her voice with Chris Jennings’ guitar for a seamless interpretation. “Alone Together” features vocalist with guitar in a warm duo outing that casts a reflective spirit, while “You Go to My Head” saunters gently with the quartet’s laid-back honesty. “Nature Boy” takes the quartet through its paces with more fire than elsewhere on the program, creating the albums high point. Here on this one selection, guitar, bass and drums surround the singer with ample expressiveness, creating an original interpretation that sizzles. Aside from being too brief, Ardizzone’s album falls short by exposing the singer too often without a thourough accompaniment. Several selections contain bare spots where she’s left singin with a mere modicum of instrumental support.
With seven standards on her program, Ardizzone moves through the Jazz tradition, grasping the elements naturally. Her vocalese gives “Anthropology” a thrill, pairing her voice with Chris Jennings’ guitar for a seamless interpretation. “Alone Together” features vocalist with guitar in a warm duo outing that casts a reflective spirit, while “You Go to My Head” saunters gently with the quartet’s laid-back honesty. “Nature Boy” takes the quartet through its paces with more fire than elsewhere on the program, creating the albums high point. Here on this one selection, guitar, bass and drums surround the singer with ample expressiveness, creating an original interpretation that sizzles. Aside from being too brief, Ardizzone’s album falls short by exposing the singer too often without a thourough accompaniment. Several selections contain bare spots where she’s left singin with a mere modicum of instrumental support.
- Cadence by Jim Santella
You
know it when you see it - good craftsmanship. You can see it in a piece of
furniture. In an automobile, or in a painting that hangs on the wall. And
you can hear it, too. A group of musicians who have been playing together for
any length of time just fit together, better than most.
And so it is with this
disc. This bunch has been together for a
while...eight years, according to the bio.
Ms. Ardizzone moves with confidence. The opening track
("Anthropology") had me saying, "How does she do that?" She's good. The whole group is good.
Ms. Ardizzone moonlights as the newly-minted Executive Director of what
looks like a fairly posh private school in New York...or is it the other way
around? It could be. The old line
about "Don't quit your day job?" Yeah, she's that good - apparently, at both jobs.
She could take her pick. I
know how I would vote. The original
tune, "I Got Lucky" is an amusing tune about a one-night stand; the
turns on "Nature Boy," and "You Go To My Head" are simply
outstanding. The Gotham insider "Afraid
Of The Heights" is amusing, probably more so if you're a New Yorker. Ms. Ardizzone is blessed with a great voice
that she uses with confidence. Hubby Chris Jennings is an accomplished
guitarist - he gets his share of (nicely done) solos. Bob Sabin is on Bass and
Justin Hines on drums...the whole gang is simply great. Quality of the
recording is unusually high for releases like this.
Highly recommended. Three microphones (out of
four)
- Girl Singers.org by Doug Boynton
After
hearing Afraid of the Heights by Leonisa Ardizzone, I found myself hoping that
I would find an opportunity to see her and her group at a gig in the not too
distant future, for she is a vocalist who swings, articulates and phrases
wonderfully from the first notes of “Anthropology” to the closing notes of “You
Go to My Head”.
Backed by Chris Jennings on guitar, Bob Sabin on bass and Justin Hines on
drums and percussion, she shows herself to be a jazz infused singer with an
appealing voice and a knack for finding the heart of each selection. Whether doing standards like “Autumn Leaves”
or “Alone Together”, a jazz tune with her own lyrics such as the Charles Mingus
classic “Goodbye Pork Pie Hat” or any of several originals by her and her band
mates, she is right at home. A particular delight is the tune by Hines that
gives the title to this album, “Afraid of the Heights”, an ode to the area of
Manhattan known as Washington Heights. I had a lot of fun listening to this
disc and I believe you will as well.
- Jersey Jazz
An
attractive CD, her first, by a singer who has clearly had a lot of experience.
Indeed,
Leonisa Ardizzone and her quartet have been playing together for about eight
years. This brings a seamlessness to their playing and each is fully at ease
with all the others. Speaking of the others, they are guitarist Chris
Jennings, bassist Bob Sabin and drummer Justin Hines. Of the three, producer
Chris has most solo space and he takes full advantage of this turning in some
attractive and deceptively simple-sounding solos. The repertoire chosen by
Leonisa and Chris is a very pleasing mix of standards, 'Autumn Leaves' and 'You
Go to My Head', jazz works, 'Anthropology' and 'Goodbye Porkpie Hat', and some
new songs of which Justin's 'Afraid Of The Heights' (that's Washington Heights)
is a witty and enjoyable excursion.
- By Bruce Crowther
Leonisa
Ardizzone Quartet’s album, Afraid of the Heights, is filled with
errorless instrument play and a female vocalist that will hook you in and put
you in a feel good dance mood.
The
first track opens with fast talking from the lady singer and the instrument
notes are in accordance with each word she utters. Some lyrics in the song
include mentions of other continents and our country’s forefathers such as,
“Ancestors who were here…They spoke the language everyone could dig …Millions
of years ago in Kenya…Africa was the place that started the race then they
originated history. If you really want to be hip, then take a tip, what
evolutionary fact is true, brothers and sisters...If we can’t get along.”
Following the history lesson, there is a great deal of scatting by the singer
that really peps up the song. The second track has guitar and the female
vocalist being a touch more tender with her voice as she talks about a place
where she can go to get away from it all and just be herself, with lyrics like,
“Far away from the matting crowd, from the noisy loud of midtown. There’s a
place that I know about where you can hold out for days and to some New Jersey Heights, just the name gives them the
freight. But there’s nothing to be feared in my new home, Washington Heights.”
The third track has somber guitar play and she speaks of the culmination of
relationship occurring because of her partner’s abandonment, with lyrics like,
“The autumn leaves drift by my window…I see your lips the summer kisses. The
sun-burned hands I used to hold, since you went away the days grow long and
soon I will hear old Winter’s song that I miss you most of all my darling when
autumn leaves start to fall.” Leonisa Ardizzone Quartet’s Afraid of the
Heights is a mixture of dandy songs, along with ones that are personal in
nature, and listeners can sense the lyrics come straight from the heart.
- The Celebrity Café – CD Reviews by Sari N. Kent, Reviewer's Rating: 8.5
The debut CD by vocalist Leonisa Ardizzone and
her three musicians, Afraid of the Heights, is an encouraging one. With
Charlie Parker's quick, tricky "Anthropology," it gets off to an
impressive start that shows all concerned passing the "are they competent
jazz players?" test with flying colors.
Leonisa's swinging players are Bob Sabin on bass, Justin
Hines on drums and percussion, and Chris Jennings, who is guitarist, producer
and husband. The band gets some time to stretch out, but these are neat solos,
not self-indulgent or wandering ones. Hines wrote the album's instantly
likeable title song, which is a humorous look at the misconceptions about the
upper Manhattan neighborhood of Washington Heights. Its witty lyrics patiently
explain to the misinformed that it may be a bit far but it isn't the boondocks
and yes, they have running water and even Starbucks and other signs of
civilization. Leonisa sings it cheerfully, showing a real sense of humor about
her real-life neighborhood north of, well, everything.
Let's get the disappointing news out of the way: The album is on the short side, its ten tracks clocking in at a total of just over 36 minutes. There's one track where the singer's voice is not at ease with some melodic leaps - it's the album's one stage song, Dietz and Schwartz's "Alone Together." It's an aberration, as she is deft everywhere else and aces any musical twists and turns, and she and the band comfortably bend the melodic line of the standard "You Go to My Head" and others. The additional material she adds to the end of the standard "Autumn Leaves" is billed as "stream of consciousness." This riffing with commonplace words and banal statements about autumn in non-rhyming lines might be more entertaining in the moment in a live situation where we're convinced it's improvised.
At this point, the singer seems more focused on the music than the words, like many jazz singers before her. Her singing and bright sound are enjoyable to be sure, but she breezes through lyrics that have the potential to be serious or sad. She usually chooses not to go down that path, so I wonder if something like "Nature Boy" is a missed opportunity or just not an appropriate choice for someone with her preferences. However, the original tune "I'm Not the Same" does find her getting knee-deep into a bluesy feel with success.
Leonisa has a clear, healthy sound to her voice. There's an ease and comfort level in her handling of most of the material and a relaxed interplay with the musicians. You don't sense them sweating or trying to prove anything - there's a confidence that is appropriate because they are skilled. They sound like they're at home with each other and the songs, so it's easy to feel at home with them.
Let's get the disappointing news out of the way: The album is on the short side, its ten tracks clocking in at a total of just over 36 minutes. There's one track where the singer's voice is not at ease with some melodic leaps - it's the album's one stage song, Dietz and Schwartz's "Alone Together." It's an aberration, as she is deft everywhere else and aces any musical twists and turns, and she and the band comfortably bend the melodic line of the standard "You Go to My Head" and others. The additional material she adds to the end of the standard "Autumn Leaves" is billed as "stream of consciousness." This riffing with commonplace words and banal statements about autumn in non-rhyming lines might be more entertaining in the moment in a live situation where we're convinced it's improvised.
At this point, the singer seems more focused on the music than the words, like many jazz singers before her. Her singing and bright sound are enjoyable to be sure, but she breezes through lyrics that have the potential to be serious or sad. She usually chooses not to go down that path, so I wonder if something like "Nature Boy" is a missed opportunity or just not an appropriate choice for someone with her preferences. However, the original tune "I'm Not the Same" does find her getting knee-deep into a bluesy feel with success.
Leonisa has a clear, healthy sound to her voice. There's an ease and comfort level in her handling of most of the material and a relaxed interplay with the musicians. You don't sense them sweating or trying to prove anything - there's a confidence that is appropriate because they are skilled. They sound like they're at home with each other and the songs, so it's easy to feel at home with them.
- Under The Radar by Rob Lester
Leonisa Ardizzone is the Ted Weems of modern
jazz. But she doesn't lie on a couch and whistle
which everyone thought Weems did. She swings and sways
but not like Sammy Kaye. She swings on Parker, Mingus and
Gillespie and Coots. She's not really "Afraid of the Heights" - in
this case Washington Heights - but is in turn "silly, sad, intense and
light-hearted, bold and sublime." Her quartet has been together ocho anos
and this is their first CD. All ten
tunes are tops. What are you waiting for? Whet your whistle. You won't stand
still long enough to use the couch. Scat singing is on "Anthropology"
and "Autumn Leaves." Lyrics by Leonisa Ardizzone are on Mingus'
"Goodbye Pork Pie Hat." Whistling on "Afraid of the
Heights." She says there's lots of doggy doo at Washington Heights but you
won't find any on this recording. Jobim's "Triste" will steal your
heart as does all Jobim, Gilberto, Getz, Byrd and all those cats. My friend,
the Milwaukee composer, Sigmund Snopek III, once told me he actually learned to
phonetically sing in Portuguese so he could perform bossa nova. He loved it so
much. Probably still does. Ask him? "Alone
Together" is its usual sumptuous self as you already know if you've ever
been alone together with a soul mate or two. "I Got Lucky" when I got
this one. Now, how to figure out how to get it off the CD player long enough to
hear the next one.
Leonisa Ardizzone: "You Go To My Head." I think
she will go to yours, too. Exit, stage left, whistling.
- Jazzreview.com
Like
her voice, phrasing, and wit.
She has an M.Ed. in
Science Education, an Ed.D. in International Educational Development with a
"doctoral concentration . . . in Peace Education," and a day job as
Executive Director of Salvadori
Center, which
"introduces children to the beauty, wonder and logic of architecture and
engineering as a way of helping them to master mathematics, science, arts and
the humanities." She also moonlights as a jazz singer, in a duo with
guitarist Chris Jennings, here augmented with bass and drums.
Standards-oriented, but not ready for cabaret: starts with a scat on
"Anthropology," adds new words to "Goodbye Pork Pie Hat,"
adds a yarn to "Autumn Leaves," deftly navigates one by Jobim, offers
a couple of songs by group members, winds up with a wispy "You Go to My
Head." Like her voice, phrasing, and wit. The band is never
intrusive and the guitar is a plus when I notice it. LP length, short and
sweet. B+(***)
- By Tom Hull
Our Dear Friend Bob Bowen. We are sad to report that our friend and Bass Player Extraordinaire, Bob Bowen passed away on August 30th. Bob was an amazing musician, and an even more stellar human being. He will be deeply missed. Bob played on "the scent of bitter almonds.." and in numerous gigs with the LAQ.
-
© Leonisa Ardizzone 2010.
