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"The Small Hours". . . Live Performance. . . Editorial. . ."Andrea Wolper" "The Small Hours" . . . what a delivery! Wolper sounds as if she's singing just for
you . . . . . . a singer with an uncanny emotional touch for the past 50
years of jazz. She fills torch songs with sensual longing, then
makes abstract vocal improvisations feel intimate as meaningful
conversation. . . highly recommended for anyone who believes in
the timeless essence of cool. Andrea . . . has made her return to recording something special.
. . Her smartness at reinterpreting standards or writing her own
music, not to mention her sophisticated coolness, has created a
recording unlike any other, and it does deserve attention from jazz
listeners. Blending June Christy with Julie London seems the vocal equivalent
of adding shaved ice to cocoa. Yet Andrea Wolper, an increasingly
popular presence on the New York City club circuit, makes the mixture
delightfully palatable. . . Thoroughly entertaining and musicianly, this CD should appeal not
only to many hardcore jazzers but also to those Friends of Good
Songs who like their familiar fare gently spiced. . . a superb singer celebrates the release of her gorgeous new
CD. . . a highly original performer with a sultry, late-night sound. . . . a smart, sophisticated set of smoky classics, bluesy originals,
and a handful of offbeat songs all the more welcome for being underexposed.
. . Guitarist Ron Affif and bassist Ken Filiano wrap their strings
gently around Wolper's rich voice. Victor Lewis and Jamey Haddad
take turns on the drum stool, while Frank London's trumpet and Lou
Marini's flute add dashes of color. . . . a reminder that the voice is indeed the "first instrument."
The way Wolper elicits emotion and passion suggests she actually
cares about what she's singing about, and is not simply going through the motions.
"The Small Hours" is strongly recommended, in large part,
because each selection tells a unique story. There's nothing strange or quirky about Andrea Wolper's warm, beautifully
modulated voice--but her arrangements? Those are something else
again, from her torchy, dreamy ballad setting of "Dancing on
the Ceiling" to her elaborately slow take on Van Morrison's
"Crazy Love." The mood throughout the program is slow
and sensuous, with only a couple of midtempo interludes to break
the spell. Very nice.
By rights, I should dislike several of her selections . . .
yet it is on these very songs that she wins me over. This, to me, borders on magic. The
phenomenon is that her soul and vulnerability, bolstered by tremendous chops and an understated
delivery that comes only with confidence and mastery of one's instrument, shine through the glossy
veneer of such chestnuts as the CD's opener, "Dancing on the Ceiling". . . The effect is
to reveal that which was (who knew?) buried deep within what was nothing more than a 'nice pop tune'.
The paradox is that there is no gimmickry here. Her take on "Dancing" is straightforward, soul-baring, and perfect.
And she does this again and again, throughout the CD. . . . . . she makes the songs her own. . . due to the fact that she gives the songs her
own cool feel, the mixing of classics and originals sounds seamless, and you
almost can't tell that songs like Rodgers & Hart's "Dancing on the Ceiling'
and Wolper's own. . . "Not Sleeping in Your Arms" hail from completely
different eras. The sound quality is superb for a small independent label offering.
Andrea Wolper has a very individual style that separates her from
much of the pack treading this often-tried territory, and that bodes
well for her future. You can try several of the tracks, including
one of the exceptional originals, at her website. Recommended. Wolper is a fine singer and promising songwriter, and Affif and
Filiano both expressive players. "The Small Hours" is a beautiful, intimate sharing. .
. the band picks up from where the old Blue Note Jazz groups (and
Miles with Bill Evans), and Chico and Coltrane left off. . . This
band is a world traveler, and . . . "The Small Hours"
is such a sweet ticket. . . . a relaxing, yet highly inspired, bluesy interlude (that will
stay in your collection for many years to come), this one comes
MOST HIGHLY RECOMMENDED a tasty mix of freshly considered classics alternating with lesser-known
gems . . . Wolper takes care with lyrics and takes time enough to
savor them.
Andrea is a creative jazz singer with an abundance of character.
. . the program includes twelve songs: 3 originals and 9 standards
that are effectively transformed with Andrea's indelible signature
- pleasingly so! "Not Sleeping in Your Arms" is quite striking. It's [a] Wolper original, one that succeeds
on the strength of its ambiguously constrained sexuality ("It was lovely not sleeping in your arms"), suggesting,
perhaps, a lack of constraint to come. Strong contributions from both Affif and Filiano on the track. "Moanin'" is,
perhaps, the program's most drastic revision. Wolper slows it down to a bluesy crawl and exlores its possibilities
as an anguished plaint. Filiano bows behind Andrea as "Small Day" opens and offers firm plucked support as the song
unfolds. Affif's guitar complements the mix. It's the CD's longest track at over seven minutes and one of its most
satisyingly consummated. Andrea Wolper must be credited for her adventuresome and inquiring musical approach, which succeeds
often enough to make her a more interesting vocalist than some/many. Die New Yorker Sängerin Andrea Wolper erkundigt gemeinsam mit ihren Musikern die Zeit
zwischen Nacht und Tag - dann also, wenn die ersten Lokalitäten schließen und die
Nachtschwärmer, die immer noch nicht genug haben, sich einen letzten Martini oder
Whiskey in irgendeiner Bar rechtzeitig vor Sonnenaufgang genehmigen. Dort könnte Wolper
dann auch neben dem Piano stehen und mit ihrer interessanten Altstimme ein paar bekannte
und unbekannte Jazzsongs ins Mikro hauchen. Auf ihrem zweiten Album wird sie nun aber
hauptsächlich begleitet von den ausgezeichneten Musikern Ron Affif (Gitarre) und Ken
Filiano (Bass). Hinzukommen bei einigen Titeln noch Drums, Trompete und Flöte, damit es
ein wenig abwechslungsreicher wird und wir nicht aus Versehen beim zweiten Glas Whiskey
einschlafen. Aber das wird eh nicht passieren, denn langweilig oder seicht ist
"The Small Hours" nun gar nicht. Es ist ruhig bis fetzige, hübsch arrangierte,
interessant vorgetragene und ausgezeichnet aufgenommene Jazzmusik - nicht nur Jazzfans.
5 stars Live Performance . . .a brave, unpredictable and soulful singer whose warm and sensual
voice draws the listener into her delectable world. . . Ms. Wolper
is an artist of uncompromising sincerity and creativity. When she
is on stage, it is obvious how much she likes to connect with her
audience. . . Her charm, grace and versatility made this a poignant
and meaningful musical event. Wolper's voice was simply fantastic, and she bowled over the audience, whether
in perfect stylistic interpretation of a slow, lyrical blues, or in her amusing
arrangement layering riffs from Van Morrison's "Moondance" underneath Cole Porter's
"You'd Be So Nice To Come Home To". . . Editorial Subtle yet constantly creative, lyrical yet never shy to stretch herself,
Andrea Whether it's a personal interaction or an encounter with art of
any kind, "it's not perfection that moves us," says Wolper.
"it's individuality. If you think of a person you care about,
it's the imperfections that make them interesting. For me, it's
an ongoing process of finding my individual voice as a musician,
and hoping that I have something to express that might speak to
somebody." To hear the effortless, warm notes that Wolper conjures forth is
to hear the sound of a woman truly born to sing. Her voice soars
and slides as though perfectly at home, stepping softly down well-worn
hallways of smoky jazz, climbing gracefully up stairs of cheery
elegance, and descending fearlessly into darkened basement corners
of melancholic blues. With a repertoire that comprises uniquely
interpreted standards, original compositions, and even the odd poem
set to music, Wolper offers up a variety of textures and moods in
her music. Andrea. . . simmers on jazz swingers. . . Her throaty fondling
of melodies recalls some of those '50s-era white girls (Chris Connor,
June Christy, Julie London), but ultimately seems more indebted
to the late Carmen McRae and her ilk; like McRae, Wolper understands
the importance of jazz's lyric content-- not shying away from starkness,
dark beauty or introspection--and knows how to engage her sidemen as sly, interpretive co-conspirators. ___________________________________________________ "Andrea Wolper" . . . her voice is clear and rich and she slides off the beat just
enough to really swing while her backing trio is inventive and tight.
The set is mostly familiar stuff with leanings towards the blues.
Her languid swing on "What's Your Story, Morning Glory"
and "Angel Eyes" is perfect and her a capella introduction
to Billie Holiday's "Left Alone" captures the song's stark
power. This is a good low-key session. Wolper seems to really understand
the nuances of jazz singing. Andrea Wolper's CD is a most welcome effort. This young woman has
a swing that never stops.
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