Sophie Milman, the Toronto-based jazz singer whose unique style has captivated audiences worldwide, makes a significant leap on her third album, taking familiar songs into new territories and branching out by bringing pop songs into the jazz repertoire. 'If I am self analyzing,' Sophie says, 'the first two albums were about where I came from, issues of the past. This is more about the future. It's even more jazz than the others, more textured and a lot more mature. The title is so different from me - I never take anything easy in my life. Every day I question myself about everything.
But I really want to take life easy.' One thing Sophie need not question are the monumental steps she took in 2008. The Canadian singer performed around the globe, hitting landmark venues like the Hollywood Bowl, the Kennedy Center and New York's Blue Note club, sharing stages with the likes of Chick Corea, Chris Botti and the Manhattan Transfer. Her second album, 'Make Someone Happy,' won the Juno Award for Jazz Vocal Album of the Year after it topped the iTunes jazz chart in the U.S.
And Canada for months and cracked the top 5 on Billboard's jazz chart. Better yet, the accolades have followed. JazzTimes referred to her as Canada's hottest young jazz singer. NPR's Weekend Edition praised her 'classic jazz voice that evokes smoky lounges, softly clinking glasses and the cool of the night.'
DownBeat simply said 'she captivates.' The Los Angeles Times raved, 'the sky's the limit for this exceptional young talent.' 'Take Love Easy' finds songs by Paul Simon, Bruce Springsteen and Joni Mitchell on a program with tunes penned by Cole Porter, Johnny Mandel, Duke Ellington and Antonio Carlos Jobim. 'Almost all the songs deal with the ambiguity of love and life,' Sophie says. 'Some are more hopeful, some are more melancholy and others deal with the gray areas - indecision, unrequited yearning, self-preservation and the aftermath of a break-up.
Love is analogous to life. To me, beyond the romantic connotations, the songs reflect my understanding of the world and my relationship with myself.' Her goal was to remain song driven while taking listeners on an emotional ride with varying styles and tempos. 'And I wanted to continue my experimentation with songs that are not usually part of the jazz tradition. The key was to arrange them in an organic way, peel back the layers to discover the essence of each song and then build on the jazz elements.' 'Whether it's a jazz standard or what I call a ‘new standard,' we approach it the same way: respect the intent of the songwriter but depart as much as possible from the original.' Two songs required significant re-thinking from the originals, Simon's '50 Ways to Leave You Lover' and Springsteen's 'I'm On Fire.'
'50 Ways' is very interesting. It's morally ambiguous - a very dark and sad fact of life. We decided to give it an ironic touch, an Afro-Cuban rhythm that was full of life. 'I'm on Fire' is a stalking song when Bruce sings it - everything he does is so unbelieveably masculine. The original is stunning. And you have to be careful with Springsteen songs there are not too many people like him.
Take Love Easy Lyrics
It had to be re-imagined for a woman. We slowed it down and emphasized the melody. ' 'Take Love Easy' was produced by Juno Award-winning producer Steve MacKinnon, (Marc Jordan, Natalie Cole), and features members of Sophie's working band: her pianist and, since November 2008, her musical director, Paul Shrofel, guitarist Rob Piltch, bassist Kieran Overs and drummer Mark McLean. Among the guest soloists are alto saxophonist Wessell 'Warmdaddy' Anderson (Wynton Marsalis, Lincoln Center Jazz Orchestra), legendary Canadian trumpeter Guido Basso and emerging piano superstar Robi Botos. 'When a person matures, there's a style and confidence that emerges. I would not have been brave enough to do these songs when I was younger.
I am able to do them now because I have surrounded myself with fantastic musicians. The band deserves a lot of credit for our sound. ' Milman, a native of Russia who is fluent in Russian, Hebrew, French and English, was born in the Siberian town of Ufa and moved to the Israeli port city of Haifa when she was seven. At 16, her family moved to Canada and as a teenager she absorbed pop, jazz and gospel, her favorites being Mahalia Jackson, Sarah Vaughan, Ella Fitzgerald, Oscar Peterson, Nat 'King' Cole and, at the top of the list, Stevie Wonder. Her self-titled debut was released in 2004 and followed in 2007 by 'Make Someone Happy' (Linus/Koch). In June, she is scheduled to make her performance debut in Russia.
A fall tour of the U.S. Is in the works. All of the recording and touring has meant that finishing her college studies in commerce have taken a back seat. 'Still,' she notes, 'I'm trying to not let my intellectual side freeze up.' Sophie shares her thoughts on the album's 15 songs.
'Beautiful Love' (Haven Gillespie, Victor Young, Wayne King and Van Alstyne). 'A gorgeous song with a brooding character. It really captures the elusiveness of and yearning for love.'
'Take Love Easy' (Duke Ellington). Sun solaris 10 download x86 dvd iso torrents. 'Classic Duke - great feel and humor. I saw it performed live by Toronto's great Jackie Richardson and was hooked. I decided that this should be the title track because in essence, it is the link between all the material on the album it connects the most upbeat and most melancholy songs.
P.J Perry's solo is the essence of swingin' cool. He makes everything look and sound so easy.'
'I Concentrate On You' (Cole Porter). 'My tribute to the special man in my life who helps me deal with so much. Who says that one cannot find a partner infinitely patient, supportive and loving? The solo from the wonderful altoist, Wessell 'Warmdaddy' Anderson, makes my heart soar.' 'Be Cool' (Joni Mitchell). 'This was suggested by (Canadian jazz authority) Ross Porter and even though I had doubts about my ability to tackle a Joni tune, I was really excited and gave it a try.
What emerged is one of my favorite tracks on the album. 'Be Cool' is all about a woman's attempt to keep a lid on her emotions, something I've always struggled with. Guido Basso plays a killer solo on the Harman-muted trumpet.'
'I Can't Make You Love Me' (Mike Reid/Allen Shamblin). 'One of the most beautiful and heartbreaking songs ever written, the lyrics just killed me - the idea of such complete surrender, such resolve is heart breaking. I realized that the song has very strong pop sensibilities. But at the end of the day, it has a powerful melody and lush harmonies and I knew that it could be interpreted in a different genre.' 'That is Love' (Paul Shrofel). 'My pianist, Paul Shrofel, has been with me for over four years. And usually, when he pitches me a song, I listen.
He and his partner Sharada Banman write especially great up-swing material. Counter strike 1 6 patch 23bhs. Paul really shines on this track, as does my amazing drummer, Mark McLean.' 'Love For Sale' (Cole Porter). 'I have loved this song since the first time I heard it at age 15. Carmen McRae's version is my favorite.
I read Cole Porter's lyrics as dripping with irony and sarcasm, so we decided to play up that angle, make it a little funkier and edgier. I love singing about things that are reflective of my experiences, but it is helpful to be able to play a role on certain songs.' 'I'm on Fire' (Bruce Springsteen). 'Cameron Wallis wrote a haunting arrangement for me. He re-harmonized it, slowed it down and infused it with quiet intensity. It has been one of my favorite songs to perform over the last year and a half and I always get a kick out of surprising the audience with something so unexpected.'
'Triste' (Antonio Carlos Jobim). 'I'm a huge fan of the bossa nova and Jobim is one of my very favorite composers. His songs never feel forced - they sound as natural as breathing. Whenever I listen to his work, I find that the songs stay with me throughout the day.
I recorded 'Agua De Beber' for my first album and in our live show we play 'Agua,' 'No More Blues' and 'Wave.' 'Triste,' however, was a real treat - so light and airy. Phil Dwyer wrote a gorgeous arrangement and the horn section really gives the song a wonderful lift.' '50 Ways to Leave Your Lover' (Paul Simon). 'Steve MacKinnon had this idea, which I really liked, to leave the verses quiet and moody, but interpret the choruses in an Afro Cuban, montuno feel. Mark McLean wrote the chart and we hired Toronto's piano prodigy, Robi Botos, to play on the track.
Sophie Milman Take Love Easy
When we began recording, we still didn't know what the result would be. That's the beauty of jazz: some things are better rehearsed, and others come together spontaneously. As soon as we let Robi and (percussionist) Chendy Leon loose on the tune, magic began to happen.' 'Where Do You Start' (Johnny Mandel and Marilyn & Alan Bergman). 'There's nothing more tragic than having to disassemble, bit by bit, a long relationship, where the lines between the self and the other have become blurred after years together. The idea of something so constant suddenly ending is terrifying. While the beginning of the song speaks of an ending, the end hints at the continuation of love, of life.
So it is really bittersweet in a way.'
Some critics might dismiss Sophie Milman as simply another pretty female singer, yet with her third CD, she continues to show an adventurous spirit, tackling standards and obscurities while also forging ahead into pop. Retaining many of the musicians from her previous release, Make Someone Happy, the upbeat alto offers a hip take of Duke Ellington's long overlooked 'Take Love Easy,' exuding sex appeal and backed by guitarist Rob Piltch, bassist Kieran Overs, and percussionist Mark McLean (who also arranged it), with a brief solo added on soprano sax by PJ Perry. Pianist Paul Shrofel contributed the breezy bop vehicle 'That Is Love,' which showcases Milman in her best light. She soars in the brisk treatment of the old chestnut 'Day In, Day Out,' starting in a samba setting and switching to bop, featuring alto saxophonist Wessel Warmdaddy Anderson.
Her ventures into pop remain a mixed bag. 'I Can't Make You Love Me' has been recorded often, just not in a jazz setting. Milman is boosted by Steven MacKinnon's chart, which adds several horns in the background, so it ends up deeper, even if there is little risk-taking by the singer.
Milman can't help but be influenced a bit by Joni Mitchell as she interprets the folksinger's 'Be Cool,' though she remains remarkably subtle in her approach. Less successful are her renditions of Bruce Springsteen's 'I'm on Fire' and Paul Simon's 'Fifty Ways to Leave Your Lover,' both of which are hampered by their bland melodies and forgettable lyrics. But with this generally strong release, Sophie Milman remains one of the most promising jazz singers of her generation. Ken Dryden.
Sophie Milman is a charismatic young Russian-born, Israeli-raised, Toronto-based jazz vocalist who's well on her way to becoming an international sensation. Ill in her twenties, she's been a household name in Canada since 2004, when her debut album established her as a major artist in her adopted home country.
Since then, she's continued to take the jazz world by storm, topping the Billboard jazz and iTunes charts Canada, the U.S., France and Japan, winning a Juno Award, and captivating audiences worldwide. In the Moonlight, Milman's fourth album, finds the artist creating her most sophisticated and accomplished work to date, drawing upon her sublime interpretive skills and unique personal history to deliver a deeply compelling set of jazz and pop standards that showcases the subtle emotional shadings of her singing. Throughout In the Moonlight, Milman's performances elevate a musically and lyrically diverse array of material, encompassing the playful romanticism of the George Gershwin/Buddy DeSylva chestnut 'Do It Again,' the poignant melancholy of the Kurt Weill classic 'Speak Low,' the barbed bittersweetness of Serge Gainsbourg's 'Ces Petits Riens,' the effortless uplift of the Antonio Carlos Jobim/Jon Hendricks bossa nova favorite 'No More Blues' and the understated elegance of the beloved Duke Ellington classics 'Prelude to A Kiss' and 'Day Dream.' 'I wanted to make a lush, warm, romantic record, the kind of record that takes people to an emotional place,' Milman asserts, adding, 'I choose songs mostly based on the lyrics; they have to resonate with me emotionally or have something cheeky about them to get my attention. But I'm also drawn to melodies that have interesting twists and turns.'
In the Moonlight matches Milman with a stellar set of musicians whose talent and sensitivity complement her own, resulting in performances that consistently cut to the emotional truth of each song. Recording in New York for the first time and working with Grammy-nominated producer Matt Pierson, she's accompanied by a prestigious musical cast that includes pianists Gerald Clayton and Kevin Hays, guitarists Julian Lage and Romero Lubambo, bassist Larry Grenadier, drummer Lewis Nash, percussionist Bashiri Johnson and renowned soloists Randy Brecker (flugelhorn), Chris Potter (tenor saxophone) and Gregoire Maret (harmonica), with key contributions from noted arrangers Alan Broadbent, Gil Goldstein and Rob Mounsey.
'It was good to take myself out of my comfort zone and throw myself into the New York atmosphere, with musicians I had never worked with before,' Sophie recalls. 'That really put me on edge, and I think it resulted in better music. I was nervous, but I was really proud of how I was able to hold my ground and do my thing. The whole experience turned out to be amazingly gratifying.
It was fun and scary, which can be a good combination.' Six of In the Moonlight's tracks feature vivid orchestral arrangements that accentuate the expressiveness of Milman's vocals.
'Recording with strings for the first time was a real trip,' she notes. 'It was like putting on my headphones and being hugged by a big, warm blanket.
Those were the most elaborate arrangements I'd ever performed, whereas the rest of the session was much more spontaneous and groovy. It’s a really interesting contrast.' The intimacy and immediacy of Sophie Milman's singing reflects the dramatic experiences that shaped her early life.
Born in Russia's Ural Mountains, she left for Israel with her parents in an effort to escape the strictures and uncertainties of life under communism. Among the few possessions that her family managed to hold onto was a cherished collection of vinyl jazz bootlegs. Those recordings would become the foundation for Sophie's lifelong love of jazz. 'Russia was pretty closed, and there wasn't a huge taste for jazz there—certainly not American jazz—during communism,' she explains.
'But my dad accumulated a decent collection of records, which he picked up on the black market—that was his form of rebellion against the regime. That collection really shaped my early musical consciousness. I came to jazz from a completely different perspective. When I was growing up, the music in Russia was quite heavy; even kids' songs there were tinged with sadness and marked by real life. So, when I first heard jazz, I was immediately drawn to it, even though I was a kid and it was supposedly grown-up music.
Maybe I had a certain level of emotional maturity that helped me understand it. For whatever reason, it really spoke to me.' Spending her formative years in Israel, Milman continued to gravitate towards jazz and other American music forms, developing a deep affinity for such seminal artists as Ella Fitzgerald, Mahalia Jackson, Stevie Wonder, Ray Charles and Louis Armstrong. When she was 16, her family emigrated again, to Toronto, where she quickly became a part of that city's rich, diverse music scene. She began her musical career almost by accident, after being asked to participate in a local jazz series. Her talents quickly won her local notoriety, and it wasn't long before she had earned a record deal with Linus Entertainment, an independent Canadian label.
Although she was barely into her 20s when it was released, Sophie's self-titled 2004 debut album became a major hit in Canada, establishing her as a rising star and an in-demand live act. Her 2007 sophomore album Make Someone Happy debuted at #1 on Billboard’ Canadian jazz chart and peaked at #3 on Billboard’s U.S. Jazz chart, and won a Juno Award as Vocal Jazz Album of the Year. 2009's Take Love Easy also debuted at #1 on Billboard’s Canadian jazz chart and reached #4 in the U.S. The live EP release Live at The Winter Garden Theatre and the 2008 DVD Live In Montreal further enhanced Milman’s international reputation. Milman's recording success led to performances at such prestigious venues as the Hollywood Bowl, the Kennedy Center, the Montreal Jazz Festival, Toronto's Massey Hall and the legendary Blue Note clubs in New York and Japan.
She's also shared stages and/or collaborated with a varied array of musicians from the jazz, pop and rock worlds, including Randy Bachman, Chris Botti, Gary Burton, Chick Corea, the Manhattan Transfer, Cesaria Evora, Jesse Cook and the Neville Brothers. Many of the songs on In the Moonlight carry particular significance for Milman. 'Till There Was You,' to me, is the ultimate simple romance song,' she says, adding, 'I grew up listening to the Beatles' version of it, and I learned how to sing it when I was seven. It was one of my dad's favorite songs. In Israel, we had a beat-up old car without a radio, so when we drove around the country, I was the entertainment. I would sit in the back seat and take requests, and 'Till There Was You' was on heavy rotation. My dad just loved it.
Everybody was trying to talk me out of recording it; they thought it was corny. But I dug in my heels, because the song represents the deep connection between my dad and me. It reminds me of times when my family was poor, life was hard and music was the glue that kept us together. That's when my musical identity was formed, so that song is really part of me. 'I wanted to make a romantic album, but I didn't want to make a rosy, 'everything's always great' kind of record,' she continues. 'After 'Till There Was You, ' the other side of the coin is 'Ces Petits Riens,' which is about loss that is so monumental that you try to belittle it in your mind because it's so painful.
I can relate that to the starts and stops that I've had in my life, and to the kind of nostalgia that I feel towards the people and things that I've had to leave behind. 'My life's been full of detours, but they've led me to a good place,' concludes Milman, who recently revisited her old haunts in Russia and Israel, and recently earned gold medal in commerce from the University of Toronto. 'As disjointed as my life feels sometimes, I think I've been able to take the best qualities of the three distinct, amazing countries where I've lived and integrate them into my personality. 'Moving around the world twice, starting from scratch each time and having to reinvent and reimagine myself in a completely new context and culture—that's the defining feature of my life. It's certainly shaped me as a person, and it continues to color my approach to music, informing the kind of songs that I choose to sing and the way I sing them.'
It's truly a treat to witness the growth of an artist. Vocalist Sophie Milman confesses that she didn't know much about music when she made her first record but her natural talent and lovely grace has helped her get through. So this Russian nativenow a resident of Canada with time in Israel in betweenhas released Make Someone Happy, showing just how far she's come. Milman has always had a way with a lyric and poise well beyond her yearsintelligent and beautifully timed phrasing seem second nature to herbut her voice has grown richer and more expressive in the few years since her first outing. Make Someone Happy is her newest showcase for intimate singing and smart song choice. This is a mix of show music, some pop tunes and new songs from the pens of friends and associates.
It's a joy to hear the relaxed swing Milman puts forth on 'Matchmaker' and 'Like Someone in Love,' complemented by the smooth playing of her band. Listen to how she wisely changes the title tune from a kind of daffy anthem to a personal life choice.
In that same vein, she makes 'Bein' Green' a personal statement about trying to make a difference while being unique. This terrific collection of tunesthat also features guest turns by Guido Basso on flugelhorn, Gregoire Maret on harmonica and Randy Bachman on electric guitarends with the Hebrew song 'Eli, Eli.' It's a stunning and dark prayer that demonstrates Milman's smarts and individuality. With some truly personal and timeless singing, the brilliant musical direction of producer Steven MacKinnon and the touching playing of pianist Paul Shrofel and cellist Jill Vitols, Milman wraps up this beautiful package that demands immediate re-opening. Crack wpa2 beining. Track Listing: People Will Say We're In Love; Something In the Air Between Us; Rocket Love; So Long, You Fool; Matchmaker, Matchmaker; Like Someone In Love; Make Someone Happy; (It's Not Easy) Bein' Green; Reste (Stay); Fever; Undun; It Might As Well Be Spring; Eli, Eli (A Walk to Caesarea). Personnel: Sophie Milman: vocals; Paul Shofrel: piano; Kieran Overs: bass; John Fraboni: drums; Rob Piltich: guitar; Alan Hetherington: percussion; Anne Lindsay: violin; Jenny Thompson: violin; Claudia Vena: viola; Jill Vitols: cello; Gregoire Maret: harmonica; Guido Basso: flugelhorn; John Johnson: flute; Vern Dorge: alto flute; Cameron Wallis: clarient, flute; tenor saxophone; John Johnson: bass clarinet (11); Dennis Keldie: Hammond B3 organ (10); Randy Bachman: guitar (11). Title: Year Released: 2008 Record Label.
Not that it ever totally went away, but the torch singer is making something of a comeback after years of neglect. Call it the Norah Jones Effect, but for some reason people are once embracing vocalists who can actually sing a song instead of emote and hit notes that make dogs start howling.
Sophie Milman's too cool to hit glass-breaking notes. She's more of a whisperer than a screamer which works just fine when she's crooning seductively ('Something In the Air Between Us'), in a cool groove ('So Long, You Fool') or just paying homage to the greats ('Fever'). Born in Russia, raised in Israel, or attending college in Canada, Milman is perfectly comfortable embracing American jazz. Not a surprising choice because her voice seems most natural and comfortable with jazzy standards instead of a slice of pure pop such as Stevie Wonder's 'Rocket Love' where she demonstrates that blue-eyed soul singing may be a knack beyond her. Want a sign that Milman is an up-and-comer? She doesn't think twice about asking former Guess Who and Bachman-Turner Overdrive hitmaker (and fellow Canadian) Randy Bachman to add guitar to 'Undun' where the flute of the multi-talented Cameron Walls captures the slight bossa nova flavor of the song.
Still, when compared to her interpretation of Peggy Lee's smoky 'Fever,' a Top 40 refugee like 'Undun' makes for Milman engaging in some elegant slumming. Nobody could sing a goofy tune like, '(It's Not Easy) Bein' Green' without an element of 'Oh, are you kidding?' To it, but she plays it perfectly straight, never letting the song get away from her and always in control of her musical choices. Milman is accompanied throughout with a group of supporting musicians that while not flashy, compliment her well, allowing her space to be the star of the show. If anything, that is the only real drawback to Make Someone Happy; it's too darn safe. There is a small amount of 'formula' involved that puts Milman into Las Vegas lounge singing instead of jazz vocalist. Maybe it's the glamour shot photos of her blond good looks that makes it appear that a sexy image is selling the music instead of her vocal acumen.
As sophomore efforts go, Milman is well positioned to break out big. She has the looks, smart production, impressive musical taste and a mighty fine singing voice. All she needs now is some exposure and the right song to take it to the next level of success. Whether or not a song from Make Someone Happy provides that push remains to be seen.
As it stands, it's a strong sign of her growth and increasing confidence as an artist. Track Listing: People Will Say We're In Love; Something In the Air Between Us; Rocket Love; So Long, You Fool; Matchmaker, Matchmaker; Like Someone In Love; Make Someone Happy; (It's Not Easy) Bein' Green; Reste (Stay); Fever; Undun; It Might As Well Be Spring; Eli, Eli (A Walk to Caesarea). Personnel: Sophie Milman: vocals; Paul Shofrel: piano; Kieran Overs: bass; John Fraboni: drums; Rob Piltich: guitar; Alan Hetherington: percussion; Anne Lindsay: violin; Jenny Thompson: violin; Claudia Vena: viola; Jill Vitols: cello; Gregoire Maret: harmonica; Guido Basso: flugelhorn; John Johnson: flute; Vern Dorge: alto flute; Cameron Wallis: clarient, flute; tenor saxophone; John Johnson: bass clarinet (11); Dennis Keldie: Hammond B3 organ (10); Randy Bachman: guitar (11). Title: Year Released: 2008 Record Label.
Comments are closed.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |