JUDI SILVANO Vocalist, Composer, Lyricist

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Website: judisilvano.com Booking: [email protected] Email: [email protected] Tel: 914 213-2992 JUDI SILVANO Vocalist, Composer, Lyricist

JUDI SILVANO’S WOMEN’S WORK By Lynn Jordan, March 2009 Judi Silvano is a traditional Jazz singer, whose release “Woman’s Work” showcases her bright voice against a simple backdrop of piano, drums and bass in an intimate live performance. Rosemary Clooney, Peggy Lee with a pinch of Ella Fitzgerald are good points of reference for her vocal style. Silvano is not afraid to be playful and light on such songs as “Not To Worry” and “New Dance” where she scats convincingly, and she can also handle a song with more depth such as “Inside A Silent Tear” and the lovely “Why Do I Still Dream of You”, which is the standout track and her best vocal performance. The backing band’s musicianship is excellent, and they exercise restraint where other musicians may have gone overboard with solos. This CD is pleasant listen, and perfect for those who can appreciate a singer with a clean, unfussy voice that is not afraid to take some chances for her craft.

Judi Silvano: Women’s Work - 4 STARS DOWN BEAT MAGAZINE

Caught live at New York’s Sweet Rhythm in March 2006, JSilvano gives a masterful performance. The album title nods not only to the bold, vibrant all-female ensemble, but to the repertoire, which was penned exclusively by women. Far more than a concept album, Women’s Work finds the singer at the peak of her creative game.

Silvano displays a firm knowledge of jazz history and vocal technique, subtly coloring the songs with a well-placed shere, a cheery squeak there. She respects the songwriintentions while adding her own flair.

The singer keeps excellent company. Pianist Janice Friedman is an inspiring partner, sympathetic to Silvano’s interpretations and equally colorful. Bassist Jennifer Vincent glows on “Silent Tear” and the frenetic “New Dance”. Drummer Allson Miller has pinpoint control and bursting energy. Their partnership reaches full bloom on Carla Bley’s “Can’t Get My Motor To Start,” a difficult piece they pull off with joyous panache. Todd Jenkins JUDI SILVANO/Women's Work: The sweet singing Silvano hangs with the gal pals and fashions a tribute to great jazz women that are either under recorded or in danger of being forgotten. A dandy primer that has her tackling works from a varied list... this isn't a set about being precious, this is a set about expanding the jazz vocal vocabulary. A live set that tastes good and is good for you, jazz vocal fans have a special treat here on a lot of levels. Chris Spector, Midwest Record Review http://www.midwestrecord.com/2007/09/16/091607/

Judi Silvano’s Women's Work [JSL Records] is an all woman outing with Janice Friedman, Jennifer Vincent and Allison Miller. The compositions are by the likes of Sheila Jordan, Mary Lou Williams, Carla Bley and Blossom Dearie - Superb singing and backing! Rating 9 / 10 Irwin Block, Montreal Gazette, July 2007

Women's Work: Live at Sweet Rhythm is the best of Silvano’s post-millennium albums. It presents a hardworking quartet making fine music so that whether in tribute or not, these eleven tracks present a well-developed and fun approach to a conceptual overlay. Michael P. Gladstone, All About Jazz

Silvano ranks among the superior female vocalists long-deserving of wider recognition and has spread her net wide to salute the songwriting skills of eight great female jazz singers & players, including herself. Silvano and company are in fine form, obviously having a ball with this material going from softly introspective to joyfully buoyant and delightfully saucy. Christopher Loudon, Jazz Times, June 2007

Judi Silvano has always been one to make some interesting, and in some cases perspicacious, choices. Fortunately, one of her Quartet’s engagements at Sweet Rhythm Jazz Club was recorded. The result, Women’s Work, brings to light relatively obscure compositions by female performers as a result of Silvano’s continuing uncovering of overlooked, but inspiring, jazz artists and their works... Silvano is absolutely fearless on Carla Bley’s “Can’t Get My Motor to Start” from Nick Mason’s Fictitious Sports, a rare find that shows Silvano’s unending search for meaningful music.... When considering Mary Lou Williams’ music, Silvano chose not only the better-known sultry blues, “What’s Your Story Morning Glory.” She also selected the obscure call-and-response novelty song, “Pretty Eyed Baby,” for which Williams shared songwriting credit with William Johnson and Leo Mosley and which received its most notice on Verve’s Roy and Diz. ... For the most part, the songs of Women’s Work are light-hearted and imaginative and appear not to be work at all. ...Still, Silvano offers a somber impressionistic interpretation of Sheila Jordan’s “Ballad for Miles.” ... The inclusion of Meredith D’Ambrosio’s “Why Do I Still Dream of You” allows Silvano to craft a gorgeous song of loss and hurt, which stands on its own melodic merits, a perception proven when Friedman takes over to solo with elegance. ...The overriding feeling from Women’s Work, though, is joy and fun. No doubt, the audience at Sweet Rhythm felt that they were participants in the spontaneous creation of the music as the members of the Women’s Work Quartet re- imagined the music of female composers, which concisely and artistically described their own lives and interests. Don Williamson, JazzReview .com

Judi Silvano is a pre-eminent New York City-based jazz vocalist and composer. She is known for her ... penchant for creative projects that push the proverbial envelope. Whether she is scatting in a free jazz composition, rendering a ballad by Monk or Gershwin, or performing with any of her diverse ensembles, she is uniquely herself - uncompromising and always interesting.

Her latest recording, Women's Work, was recorded during a "live" performance honouring Woman's History Month 2007 at Greenwich Village's "Sweet Rhythm". Judi has included material from some of her most profound influences - Mary Lou Williams, Blossom Dearie, Abbey Lincoln, Meredith D'Ambrosio, Sheila Jordan, Carla Bley and Bessie Smith. She has also assembled an all-female cast of fine musicians who more than rise to the challenge. Women's Work retains a distinctive "live" quality, with very little (if any) electronic manipulations in post-production..

Silvano has penned three compositions for the project, with "Bougainvillea" being the most evocative. The languid, melodic line is voiced in Judi's lower register, creating a mellow and engaging mood, and Janice Friedman's gorgeously constructed piano solo is a thing of beauty.

"Pretty Eyed Baby" by the late jazz pianist and composer Mary Lou Williams, along with a rhumba-infused rendition of the Blossom Dearie ballad, "Inside a Silent Tear" are both notable tracks.

Women's Work is not just a concept recording for jazz historians and purists or feminists, but is a living, breathing highly musical jazz album that pays homage to an art form that is the birth right of all the peoples on this tiny blue planet - not just the ones with a Y chromosome. Lesley Mitchell-Clarke, Special to The Whole Note

This is Judi Silvano’s 5th recording over the past ten years as a leader. The musical artists on this recording and the composers of all the songs are women. Silvano pays tribute to some of the more influential female stylists in jazz, performing compositions that are compelling musically, among the more obscure and rarely performed songs – by comparison to the usual standards and chestnuts from the jazz lexicon. The chronological and stylistic expanse of Silvano’s choices, from the swing era Williams to the exploratory approaches of Carla Bley, are noteworthy.

Silvano opens “Pretty Eyed Baby” with a solid two-beat groove. You can hear the smile in her voice. She sounds confident as she delightfully brings this simple lyric to life. The rhythm section blossoms into a more driving groove for Janice Friedman’s lyrical solo.

The groove on “Inside A Silent Tear” is right out of the Ahmad Jamal “Poinciana” bag – with a Latin, Bossa-like rhythmic foundation. Allison Miller accurately supplies the drum accompaniment generally associated with the aforementioned Jamal classic. Friedman contributes another magnificent solo. Silvano floats magically above the ensemble, making sensitive use of dynamics, and singing with impressive phrasing – gently bending the lyrics and stamping it with her own identity.

“Not To Worry” is composed by Abbey Lincoln, and offers Silvano the opportunity to express the joy that is a staple of this group and that evening’s festivities. Silvano slows it down on Meredith D’Ambrosio’s pensive “Why Do I Still Dream of You?”. The after-midnight feel, gentle tempo, thoughtful dynamics, and notable accompaniment by Friedman on piano and Milller on drums, help Silvano shine here. Silvano gives us a healthy helping of her scatting strengths on the lively samba groove of her own composition “New Dance”. The album concludes with a blues – Bessie Smith’s “Backwater Blues.” Silvano is at her best here.

Judi’s artistic endeavors have taken her far beyond the area of vocalist and composer. After studying Music and Dance at Temple University, Silvano moved to New York and embarked on a career in improvisation – dance and then jazz music. Silvano has assembled a superb band, a clever set of music and Women’s Work expectedly shows the ongoing growth, commitment ability and sensitivity of this evolving artist. Clive Griffin, JAZZ IMPROV Magazine, September 2007

Bringing Women’s Work to Light -- Jazz vocalist and instrumentalist Judi Silvano of Local 802 (New York City) has released a new CD entitled Women’s Work, featuring under-recorded compositions by female jazz musicians. The album celebrates the work of seven female composers: Mary Lou Williams, Blossom Dearie of Local 802, Abbey Lincoln, Meredith d’Ambrosio, Janice Friedman of Local 802, Sheila Jordan and Carla Bley of Local 802, also contributed compositions to the album.

While some of the songs on Women’s Work may be unfamiliar, Silvano says that the composers represent “some of the best of the American composers, let alone that they’re female.” Many of them are recognized as pianists and vocalists, but their composing accomplishments have been largely overlooked.

Women’s Work was originally conceived in 2003 as an annual concert to honor women musicians during Women’s History Month in March and her Quartet evolved into an all-female ensemble with appearances in Rome, Italy, hosted by the Donne in Musica Foundation, and at the Jazz at Lincoln Center’s Women in Jazz Festival.

Because of the group members’ busy schedules, Women’s Work was recorded live at Sweet Rhythm in New York City. Silvano explains that live recording can be difficult, but that the Quartet had developed a deep level of trust. “That’s what’s fun about it,” says Silvano. “You really get to be in the moment the more you know the musicians that you are working with, and relate to them, and react to them.” Women’s Work is Silvano’s seventh album. Silvano’s 2002 album with late pianist Mal Waldron, Riding a Zephyr, is considered by many critics to be among the best jazz voice-piano albums of the decade.

As an accomplished female musician, Silvano feels that it is her responsibility to bring overlooked female composers to the attention of the public. As for the future of women jazz musicians, Silvano is optimistic. “The skill and experience among women musicians has definitely come up, and acceptance and acknowledgement has also increased.” Overall, she feels there is a better gender balance in the music industry than there was 10 years ago.

Silvano hopes that she will continue to be viewed as a professional musician, rather than being qualified as a “woman in music.” “Women’s Work”, she says, “is an act of confidence for me.” INTERNATIONAL MUSICIAN

Silvano's clear, strong alto is vibrant and worldly and not a bit sentimental, but it's still capable of tenderness and bright optimism. Her Women’s Work project is a wonderful showcase for this original and intelligent singer working with some neglected gems from the Great American Songbook. Ed Hazell, JazzIz Magazine, July 2007

I just finished listening to Judi’s last CD [Women’s Work] and I really love her album. For my taste, this is a major vocal jazz album this year!! Everything is so original and this is what I really like! Wowwwww! Jean Michel Reisser, Lausanne Switzerland, Jazz City Radio: FM 93.8

Silvano’s Women’s Work CD is a diverse amalgam of the history of jazz from the perspective of women songwriters. What a wealth of material and it highlights the versatility of the musicians, particularly Judi Silvano’s wide ranging voice, which effortlessly shifts from alto to soprano, from blues to ballad, to swing, without ever seeming out of her element. The songs are delicate, upbeat or playful and are likely to generate some dancing. Andrea Cantor, Jazz Police, Minneapolis, June 2007

Women's Work: Live at Sweet Rhythm is based on a concept to present songs written by women and presented by an all femme group. This album has been carefully planned and is well-realized in both planning and execution. Of the players, and they are all good, it's Friedman who provides the cement that really holds this group together with her solos, comping and altogether solid playing. Allison Miller, who plays in many different genres, is a creative drummer.

Recorded live at Sweet Rhythm (formerly known as Sweet Basil), notable are Silvano's “Bougainvillea”, Williams' “Pretty Eyed Baby” (reminiscent of a tune Nat King Cole might have recorded with his trio and is a fine jump composition), Blossom Dearie's “Inside A Silent Tear” (heavily recorded during the 1970s) and Meredith D'Ambrosio’s “Why Do I Still Dream of You” (a touching ballad, and let's face it—when have you ever heard any jazz vocalist cover D'Ambrosio's work?)

Likewise, Silvano covers Lincoln's “Not to Worry,” Jordan's autobiographical “Ballad for Miles” and Bley's humorous “Can't Get My Motor to Start.” She concludes with Bessie Smith's “Backwater Blues,” a song that defined Dinah Washington's 1950s output. Did Silvano take too much of a chance here? Well, it doesn't beat out either Smith or Washington's version but it elongates the song into a pleasing six minutes of pleasure.

Judi, I got your CD and it is wonderful! I’m so flattered that you would do “Ballad for Miles”. It’s beautiful! Thank you so very, very much. It means a lot to me! I wish you luck with this new recording, I hope it’s well received! Sheila Jordan, Composer, Lyricist, Vocalist & Educator

I'm impressed by the inventiveness on Judi Silvano’s new CD. Her sense of humor and playfulness made me sit up, take notice, and laugh aloud on Carla Bley’s tune. Judi is fearless! Thanks for choosing one of my songs and for singing it so beautifully! Meredith d'Ambrosio, Composer, Lyricist & Vocalist

Judi, I got your new record and it’s wonderful! I’m glad that you’re singing “Not to Worry”. Thank you! Abbey Lincoln, Composer, Lyricist & Vocalist

When singer Judi Silvano takes up a song, she knows exactly what she wants to do with it. Her focus and precision make her new album something more than a mere concept album of music written and played exclusively by women. Silvano's clear, strong alto is vibrant and worldly and not a bit sentimental, but it's still capable of tenderness and bright optimism.

She sings Mary Lou Williams' "Pretty Eyed Baby" with a mix of flirtatiousness and toughness reminiscent of Carman McRea. She can hold heartache at arm's length, dissecting it dispassionately on "Inside a Silent Tear" and "Why Do I Still Dream of You?" But when she gets inside the sadness, it hits you like a ton of bricks.

A robust joyfulness seems to come most naturally to her. "Not to Worry,” "What's Your Story Morning Glory?” - she should do a whole album of Williams' tunes - and "Backwater Blues” all spring wonderfully to life in the sure grip of her voice.

Her horn-like scat singing, which she's featured in the past in a band with husband Joe Lovano, enlivens "New Dance" and "Easy to Love”. This is a wonderful showcase for an original and intelligent singer working with some neglected gems from the Great American Songbook. Ed Hazell, JazzIz Magazine

The girls are back and they continue to break the unwritten rules of male dominated jazz. Judi sings in front of a first-class rhythm section composed of pianist Janice Friedman, bassist Jennifer Vincent and drummer Allison Miller. Judi is a jazz educator and she has highlighted the work of women in jazz for years. She continues in that vein mixing her own work with that of Bessie Smith, Sheila Jordan and Mary Lou Williams to name a few. We liked “Inside a Silent Tear”, her scatting on “New Dance” and “What’s Your Story Morning Glory”. Thanks to Judi for expanding the breadth of jazz. D. Oscar Groomes, O’s place Jazz Newsletter, July 2007