ALLABOUTJAZZ-NEW YORK
by Marcia Hillman
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 WashingtonHeights 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 Jukovic. 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.
UNDER THE RADAR - Finding another competent jazz singer is always a good thing.
Rob Lester http://www.talkinbroadway.com/sound/
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.
The Leonisa Ardizzone Quartet: Afraid of the Heights (2006 [2007], Ardijenn Music):
by Tom Hull
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+(***)
Ken Dryden, All Music Guide
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 About Jazz, Italia
Vittorio Lo Conte
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”.
