 |
DownBeat Magazine Petra van Nuis and Andy Brown "Far Away Places" Vocalist Petra van Nuis and guitarist Andy Brown, a married jazz couple, have been performing as a duo in the Chicago metropolitan area since 2004. Though they have other gigs, this state of affairs in their pride and joy. Throughout their first album together, they seem to have an exceptional telepathic rapport that obviates the need for complicated arrangements. For van Nuis, who has a light, gorgeous and fairly delicate voice, there is both security and risk in striving to have a blended sound with the guitar and mirroring her man’s spare, uncluttered, less-is-more style. Brown, a protégé of Cincinnati guitar master Kenny Poole, happens to be an uncommonly good player, with a modesty that brings to mind the fine Canadian guitarist Ed Bickert and a warmth suggestive of Joe Pass. Joined at the conjugal hip, Brown and van Nuis share a gift for melody and have plenty of rhytmic confidence. They project naturalness when phrasing, and their overall intelligence makes understatement and subtlety virtues. They also merit praise for the integrity informing their choice of songs from the past and for their personal involvement with a lyric. The couple endows “Invitation,” from the soundtracks of two early 1950s films, with an undercurrent of quizzical tension that keeps their sentimental impulses in check. “I’ll Never Stop Loving You,” identified with mid-50s Doris day, is beautifully rendered (Nellie McKay and Jay Berliner couldn’t do it any better), and their convincing study of Cole Porter’s “Let’s Do It” posits love as quiet ecstasy. Escapist fare like the Bing Crosby-identified title track and “Destination Moon,” launched by Nat Cole decades ago are too much of a nice-and-sweet thing, but, then again, in this time of billion-dollar bailouts, global strife, and environmental distress, maybe songs about dream castles are what we need as a restorative break from everyday chaos. ***1/2 Examiner.com A Tale of Two singers (at Katerina's) Guitar International Petra van Nuis and Andy Brown "Far Away Places" Far Away Places is a hard swinging and enjoyable album from the Chicago duo of guitarist Andy Brown and vocalist Petra Van Nuis. When one thinks of a guitar-vocal duo in a jazz setting the great albums and concerts of Joe Pass and Ella Fitzgerald immediately come to mind. While the soul and inspiration of these jazz titans can be heard in Van Nuis’ vocal lines and Brown’s fret-work, this is not a tribute album, or an attempt to imitate or emulate anyone else. This album stands on its own two feet as a solid contribution to the jazz guitar-vocal catalogue. The tunes on this album represent a wide view of the traditional and, to a certain extent, more modern jazz repertoire. There are songbook standards, such as Cole Porter’s “From This Moment On,” Latin Jazz standards, “Caravan” and “Invitation,” and just enough hidden gems, such as the tragically underperformed “Destination Moon,” “Bim Bom” and “I’ll Never Stop Loving You,” to keep any jazz fan happy. Combined, these classic tracks, mixed with Latin grooves, underplayed standards and newer material, provide an intimate look into the duo’s musical tastes and backgrounds, while at the same time ensuring that the album never becomes monotonous as each new track brings with it a new musical excursion into the creative minds of these two talented jazzers. Maybe it’s the fact that Van Nuis and Brown have spent years sharing the bandstand, or the fact that away from their careers they also share their lives together as husband and wife, but their interaction is incredible to witness. Brown is always right there when Van Nuis takes an unexpected turn on the melody or twist of the time in a rubato section. Brown’s ability to know exactly when to pluck solid chords, fingerpick arpeggios, or just play single-lines behind a melody line should be commended. Brown never gets caught up in trying to do too much, like constantly walking a bassline and comping. Instead, he manipulates the harmony through a diverse range of textures that provides comfort for the singer, as well as interest for the audience. This is where the spirit of Joe Pass can be felt in Brown’s playing. Not in his note choices or incredible chops, but in his ability to let the accompaniment breathe and react to Van Nuis. It’s no wonder Brown has been making a name for himself as one of Chicago’s rising young jazz guitarists. Far Away Places takes the listener on an engaging and enjoyable journey through the musical world of this talented duo. It’s one of those rare albums that would go well as background music for a dinner party, yet it can draw in even the most seasoned jazz fan with its intricacies and elevated musicality. Do yourself a favor and check this album out. You wont’ be disappointed. Jersey Jazz Petra van Nuis and Andy Brown "Far Away Places" One of my favorite vocalists of all time was Beverly Kenney, a unique stylist who had a career in the 1950s that was cut short far too soon. When I started to listen to Far Away Places by vocalist PETRA VAN NUIS and guitarist ANDY BROWN, I was reminded of Kenney, and particularly of the album that she made with the legendary guitarist Johnny Smith. As I continued to listen, I became more impressed with both van Nuis and Brown. They have selected a program that is tasty, comprised of tunes that are not overdone, and includes a few surprises like "Born to Blow the Blues," a Bob Russell/Jack Segal song previously recorded only by two relatively unknown, but hip vocalists, Marilyn Moore and Lucy Reed. Also refreshing to hear again is a ditty associated with Billie Holiday, "Me, Myself and I." Always welcome are "Destination Moon," that opens the album, "Cottage for Sale," and the title track, "Far Away Places." She gives "Let's Do It" the suggestive edge that makes it most effective. This recording will find an immediate place in my stack of must hear again and again discs. Midwest Record Petra van Nuis and Andy Brown "Far Away Places" This isn’t a self conscious/diva/songbag collection, but to make the title track the often overlooked “Far Away Places” certainly gets this pair points. A vocal/guitar duo set by two long time fellow travelers shows that elegance and simpatico can go a long way. It ain’t about the fireworks, it’s about the purity of the performance and that’s what makes this one of those great, low key wonders. When you’ve got it going on, you’ve got it going on and this duo is one of the most ripping good new duos to come along. Check it out when your adult listening ears need something new to fill them. All Music Guide Petra van Nuis and Andy Brown "Far Away Places" There's a starkness to Far Away Places — an album that features nothing but lone vocal and guitar — that, rather than give the music a spare quality, instead brings out the richness of the performances. In other situations, Petra van Nuis' voice might be considered thin or lacking in drive. Unlike many other contemporary female jazz singers, she's not a belter but a soother, and she keeps things clean and simple when she sings, avoiding the pyrotechnics and histrionics that are increasingly popular today. Similarly, Andy Brown is not about flash and dazzle but about nuance and tastefulness. On the 13 mostly standards that occupy the recording, they complement each other so well that it's difficult to imagine them in the more raucous full-band setting (although both have done so). Even "Caravan," a tune usually given over to fireworks, is rendered softly and subtly, and the cleverness of the opening "Destination Moon" is made all the more clever due to its lack of extraneous sounds. That doesn't mean that there's no substance here, however: "Born to Blow the Blues" is possessed of plenty of soul, and Brown packs ample technique into his solo take on Antonio Carlos Jobim's "Bim Bom." On the rare occasion when the duo does pick up the pace, as on "Me, Myself and I," they reveal another side, playful and cool (albeit still sweet), that might be worth exploring further on a subsequent release. Jazzpage.com If It's Here It Should Be In Your Collection In addition to being husband and wife, Chicago-based Petra Van Nuis and Andy Brown are an engaging guitar-vocal duo. Van Nuis is the vocalist, while Brown handles the guitar duties very nicely. Together, the blend of the two creates warm sound and mood that is hard to ignore. The duo ablely takes on classic standards by the likes of Cole Porter, Rodgers & Hart and Antonio Carlos Jobim. The musical chemistry of voice and guitar is truly special and not to be missed by fans of both instruments. Examiner.com Songs for your supper as Katerina's spotlights jazz vocals Saturday night, Katerina’s early show stars Petra van Nuis, a name you may not yet know, but ought to hear more of in 2010. van Nuis’s light, lithe voice has a touch of sweetness – but just a touch, nothing cloying – and a maturity of phrasing and expression you don’t find in all that many singers under 50. Her reading of lyrics tells a listener than she knows things, with the easy confidence of someone who doesn’t have to prove that she knows things. Her style allows her to fit in nicely with older genres and classic material, which describes the majority of bookings. But with just her husband Andy Brown on guitar (the format for this gig) she gets to stretch and purr. Old Jazz Express (The Netherlands) Petra van Nuis and Andy Brown "Far Away Places" The American vocalist Petra van Nuis and guitarist Andy Brown were guests last April at the Jazz Festival Gorinchem 2009. The name Petra has a very Dutch ring to it; her father, at age nineteen, left Den Bosch to immigrate to America. At the beginning of November 2009 appeared a CD featuring the couple Petra and Andy Brown. Although both have performed on previous CDs, this is their first CD done exclusively as a couple. An initial reaction might perhaps be to question: "Isn't this risky?" I can, however, immediately reassure you that this is a beautiful CD. Because both listen to each other very well, their CD is wholly balanced. With her delicate voice, Petra often sounds romantic but also sometimes dramatic as in "A Cottage For Sale." She renders a good interpretation of text and possess good timing. Petra makes a unique sound which can not, despite instinctive wishing to do so, be compared with that of notable predecessors. However, as far as interpretation is concerned, she sometimes does remind me of Ann Burton. She has selected her repertoire very mindfully; hence, it lies well within her reach. Andy Brown is a fine guitarist. Both as accompanist and soloist, he achieves a velvet tone and has exceptional timing; his beautiful harmonies and perfect technique are carefully weighed and considered. While sitting by the fireplace with a good drink in hand, I will often insert this CD into my player. Then I will dream "With A Song In My Heart" while I am in a "Caravan" on the way to "Far Away Places," searching for "A Cottage For Sale." And then an "Invitation" will steer me to "Me, Myself, and I." There you have a number of titles appearing on this CD. Would you like to sample? Then visit Petra's website: www.petrasings.com "Let's Do It!" All About Jazz Petra van Nuis and Andy Brown "Far Away Places" The combination of a female vocalist backed by a solo guitar is not a heavily- exploited instrumentation, and there's a reason for that—it's very hard to pull off. While Ella Fitzgerald's recordings with Joe Pass are a perhaps the gold standard, overwhelmingly the piano is the stand-alone accompaniment instrument of choice for singers. But vocalist Petra van Nuis and guitarist Andy Brown's wonderful Far Away Places is a reminder of the beauty this form can achieve, and how the inherent openness of a duet setting can add interesting, expectant overtones to the music. To their credit, van Nuis and Brown keep the tracks fairly straightforward, choosing songs with charming melodies and then never straying too far away from them. The tunes are a mix of up-tempo standards, dreamy ballads, and Latin tunes. Their take on a cut like "Me, Myself And I" adds just the right amount of harmonic complexity while maintaining the song's unambiguous melody. The opening track, "Destination Moon," achieves similar results with Brown's savory voicings teasing the ear while pushing the rhythm ahead at a loping pace. Throughout the album, van Nuis' vocal quality is at once strong and wistful. In "A Cottage For Sale," she hangs on notes perfectly, releasing them as if saying goodbye to a good friend. There is also an innocence in van Nuis' voice that she exploits beautifully on the Cole Porter tune "From This Moment On." On the title track, a lovely ballad whose dreamy lyrics seem tailor made for her vocal talents, van Nuis never fails to support the melody's cadences with her range and endearing clarity. It's unfair to term Brown's playing as "accompaniment," because his guitar adds a wholly other voice to the album. In "Born To Blow The Blues," Brown slides into chordings with a sax-like quality on one bar before unleashing a shimmering staccato voicing at the next change. Always mindful of the melody, Brown manages to wrap his rich harmonic style in a unhurried feel that calls to mind the spirit of George Van Eps with a current harmonic understanding. On the Duke Ellington classic "Caravan" and the Antonio Jobim cut "Bim Bom," Brown's dexterous playing really jumps off the disc with its crisp, steady feel that mixes walking bass lines, pulsing chord melodies and even some open string drone passages. Brown's playing throughout is filled with a vibrate fluidity that defines the album and keeps the ear interested track after track. Far Away Places is an unique album with a relaxed feeling that more than handles the acoustic constraints of a duo setting. With smart song choices, engaging vocal interpretations, and captivating guitar work this album creates a beautiful landscape with minimal digressions. Petra van Nuis and Andy Brown's interpretations are over-flowing with skill and imagination. Chicago Jazz Magazine Petra van Nuis and Andy Brown "Far Away Places" Far Away Places is the title of the first recording by guitarist Andy Brown and his wife, vocalist Petra van Nuis, that features them together as a duo. This CD has a beautiful wrap-around cover with striking photos, and insightful liner notes by Chicago/Phoenix jazz icon pianist/vocalist Judy Roberts. It is worth noting that days before this CD’s release, Brown’s abilities as an accompanist––so evident on this recording––were put on national display as Brown and a small group of local musicians accompanied legendary vocalist Barbara Streisand as she performed a song on the Oprah Winfrey TV show. Brown has such a vast repertoire of varied guitar techniques and textures at his command that his ability to choose between them and employ the correct ones with impeccable timing might be his greatest talent of all. But I suggest you pay special attention to the dynamics of his guitar performance. It may seem simple, but Brown uses the full measure of dynamic range from soft to loud, a skill seemingly lost by many of his contemporaries. The intimate microphone placement and high recording quality of Far Away Places will allow you to appreciate this and other subtle audio nuances as well. The voice of van Nuis is effervescent, yet refined and classy. She can sound hopeful without being overly sweet, or serious with out any sense of manufactured drama. Van Nuis sings the lyrics as she feels they were intended to be sung, adding only the “salt” of her enthusiasm and the “pepper” of her charm. There is a sense of sincerity in every note that even that the most jaded of listeners could not fail to hear. My favorite tracks include the title song, “Far Away Places.” Brown and van Nuis succeed in believably expressing a musical sense of childlike wonder at travel in our era where “far away” can just mean the fifty-six inch HD TV in the living room, set to the Discovery Channel. Van Nuis does this with inspired phrasing, while Brown provides some homespun chords flavored with the slightest touch of the exotic. His solos on “Caravan” (suggestive and seductive) and “Me, Myself, And I” (breezy and fun) are totally different from one another, yet are both so cool as to be worth the price of the CD all by themselves. “Let’s Do It” provides a perfect showcase for van Nuis’s charming vocal style, and I cannot think of another version of this Cole Porter classic that I have enjoyed as much. “A Cottage For Sale” casts our duo in the role of sad storytellers, with van Nuis using inflection and nuance with scalpel-like precision to evoke just the right amount of pathos from her listeners. The eerie and mysterious introduction by Brown to “Invitation” sets the stage for van Nuis to make her musical entrance as a woman caught in a dark delusion of shadow and desire. With their new album, Far Away Places, Andy Brown and Petra van Nuis have given their audience a musical time capsule reflecting the hopes, dreams and aspirations of twentieth century Middle America for its own future. With the clarity that only hindsight can provide, we can see where those dreams actually came true or crashed and burned along the way. Perhaps there are even a few of those hopes and dreams left on which the final verdict has not yet been decided. I highly recommend that you bring Far Away Places home and open this enjoyable musical time capsule for yourself. Jazz Lives Petra and Andy Reward Us One of the many pleasures of the 2009 Jazz at Chautauqua was hearing Petra van Nuis and Andy Brown perform in front of a live audience, and I think the performance clips I've posted are solid evidence of their talents. I was hoping that the duo's new CD would provide the same experience. Sometimes, of course, magic dissolves in the recording studio amid attempts to make recordings flawless. But I need not have worried. Petra and Andy's new CD is splendid. Where to begin? (Once we've taken in the picture of the happy good-looking couple above...) The songs on the CD are DESTINATION MOON, FAR AWAY PLACES, FROM THIS MOMENT ON, I'LL NEVER STOP LOVING YOU, CARAVAN, BORN TO BLOW THE BLUES, LET'S DO IT, BIM BOM (a solo for Andy), A COTTAGE FOR SALE, HOW LITTLE WE KNOW, INVITATION, ME MYSELF AND I, WITH A SONG IN MY HEART. That song list speaks to a wide-ranging and discerning knowledge of the great songs of the last eighty or so years, a delight in itself: Porter, Ellington, Robison, Rodgers, and some delightful oddities. I know, for instance, that DESTINATION MOON is attached to a film of the same name and it even appears on a Lester Young live date c. 1950, but how many people have ever recorded it? (If you don't know the song, imagine IN MY MERRY OLDSMOBILE updated to the era of fantasy rocket travel.) And BORN TO BLOW THE BLUES is associated with Marilyn Moore - but I haven't heard it in ages. But this CD isn't a high-toned musical archeology lesson, either. Andy Brown, first: barring a half-dozen I admire, most jazz guitarists have become entranced, Narcissus staring at their own reflection in the shiny body of the Gibson or Macaferri, with the endless possibilities of their own technique. (You could blame Charlie Parker or Jimi Hendrix for this, but we're here to celebrate.) So the notes pour out in what sound like endless streams; the fingers fly. Few guitarists seem to understand the value of space, of breathing pauses, of logical solo construction - with music delivered at an intelligible rate. Andy could cover the fingerboard, digits a blur, if he chose to. But he knows better. So his playing unfolds beautifully in its own song, no matter what tempo or what chords. He loves melody; he can swing any band several steps closer to Heaven with his chordal strum, and he is an absolutely flawless team-player, never fixated on the limelight. Accompanying a singer isn't easy, either, but Andy is rather like a tactful, energized conversationalist at the party: he has things to tell us, he has comments to offer and support by the bucketful, but he never tries to outshine Petra. And Petra? The first thing I noticed about Petra (before I had heard her in person) was the focus she brought to her songs. She isn't one of these gospel whoopers; she hasn't channelled Aretha or Billie; she isn't a Broadway belter. All to the good, let me assure you. It means that she doesn't overact, that she fits the word to the deed and the notes to the emotion, never smudging a lyric to appear hip, never landing in the wrong place. She can romp very happily (her enunciation is flawless, even in fourth gear) and she has a speaking presence. And before I had heard this CD, I would have praised Petra for avoiding the dramatic excesses I hear from so many singers. But then I heard her version of A COTTAGE FOR SALE, and I was just about stunned by its great dramatic range, mixing ruefulness, poignancy, and loss - without overacting so much as a hair. It was pure feeling, captured beautifully. I might never hear that song sung so heartbreakingly again. Both Petra and Andy get first place in my imagined TALENT DESERVING COSMIC RECOGNITION category! Check out their websites to find out such useful information as “May I hear some audio clips?” and, following quickly,”How can I buy these CDs?” Micahel Steinman is a freelance jazz journalist whose writing can be found in such publications as Cadence, All About Jazz, Coda, the Mississippi Rag, as well as in liner notes for many jazz labels. For more information, please go to www.jazzlives.wordpress.com ChicagoJazz.net Petra Van Nuis and Andy Brown "Far Away Places" Vocalist Petra van Nuis and her husband, guitarist Andy Brown have released their new CD - Far Away Places a sensitive duet recording with just the two in an intimate setting, and it is a sparkling gem. Entering this duos' world is like stepping into a time machine and revisiting an era when the song was the thing and Coltrane-like deconstruction was just a glimmer in your daddy's eye. The songs range from beloved standards: "Cottage for Sale" "From this Moment On," "Let's Do It," "How Little We Know," "Invitation," "Caravan," "Bim Bom," "With a Song in My Heart" to lesser known pieces like the jaunty "Destination Moon," "Born to Blow the Blues," "Me, Myself and I" and the stunning title track. This world of innocence, romance and peaceful melodies is carried by van Nuis' honeyed voice and Brown's exceptional old-school guitar support (who needs a rhythm section? - check out his bass lines on Cole Porter's "From This Moment On" - there are bass players who would kill to play that well). The partner's subtle interplay on Sammy Cahn & Nicolas Brodszky's "I'll Never Stop Loving You" is another delicious highlight. While most modern singers will cover a song or two from the golden age - usually jazzing it up with rock and roll and disco beats, screaming guitar solos and incessant vocal somersaults, van Nuis and Brown have found a niche in presenting the songs of the bygone eras straight and allowing the melodies to hang relatively unadorned. The quaint and clean presentation is utterly charming: in this case it is hip to be square. Jazz Guitar Society Of Western Australia Newsletter Petra Van Nuis and Andy Brown "Far Away Places" Jazz Lives Petra van Nuis/Andy Brown Chautauqua 2009 Petra and Andy are long-time sweethearts (now married) who make lovely intimate swinging sounds together. I caught them at their two morning sets at Jazz at Chautauqua, and they kept a roomful of people (otherwise busily dropping their heavy silverware) rapt. Petra is a find: she has a delicate focused voice, doesn’t overact or emote, has beautiful lilting time and musical wit. She honors the songs and their emotions. And she’s no Imitation: when I first heard her, I didn’t instantly think, “Oh, she’s been listening to the Complete Recordings of _ _ _ _ _,” which is a relief. Andy impressed me immediately with his lovely chording, subtle melodies, and generous accompaniment. Many guitar players spatter the room with notes, gangster-style: Andy makes music. He can also provide incredible drive and subtlety to a band. He has a lovely tone and a quiet pulse. And — even better — this duet shows just how well this pair of expert musicians listen to one another. They are worth listening to! Playing a wistful SERENATA, a song I associate with big names (Sinatra and Nat Cole), Petra makes its yearning her own as Andy chimes behind and around her. A surprisingly jaunty BLUE TURNING GRAY OVER YOU shows how well Mr. Waller’s melodies work at any tempo as Andy summons up George Van Eps, which is a real accomplishment. The leaves were beginning to fall on the grounds of the Athenaeum Hotel, so Petra and Andy performed EARLY AUTUMN in honor of the impending equinox. And, just to show that this couple has mischief in its collective soul, they ended with RUNNIN’ WILD, a performance with a sweetly wicked glint in its eye, as Andy and Petra have enough rhythm in their souls to fill the room. Petra and Andy give us hope. Micahel Steinman is a freelance jazz journalist whose writing can be found in such publications as Cadence, All About Jazz, Coda, the Mississippi Rag, as well as in liner notes for many jazz labels. For more information, please go to www.jazzlives.wordpress.com ChicagoJazz.net Petra Van Nuis "A Sweet Refrain" The other evening I was stuck in another of Chicago's famous traffic jams and popped vocalist Petra Van Nuis' CD, "A Sweet Refrain" into the player. Immediately, I was transported to my "happy place," as all cares, worries, smog and construction gridlock vanished with the sound of her sweet voice. This Cincinnati transplant is obviously inspired by American Songbook interpreters like Peggy Lee and Chris Connor, which would be cool enough, but she also brings some of Lady Day Billie Holiday's phrasing as well as a touch of Doris Day's innocence. And it is a winning combination. Showing a knowledge of the great traditional singers, van Nuis manages to combine various influences into an original style all her own. And while van Nuis' lovely and nuanced vocals are the clear centerpiece, some of the credit for the success of this recording has to be given to the fine group of players accompanying her. Rhythm section mates Mike Schlick on drums and Joe Policastro both clearly understand how to support a singer the right way, while Policastro's arrangements are tasteful, yet exciting. Trombonist Russ Phillips and trumpet/flugelhornist Art Davis enliven the festivities, But it is guitarist Andy Brown, Petra's husband, who continually elicits applause with his exceptional ability to sensitively work in tandem with his wife. In fact the interplay between husband and wife is stunning throughout. Brown's playing is in the traditional mode, without effects or gimmicks and here he puts on a virtual clinic on how to play guitar in support of a singer, and his solos swing brightly. From "Let There Be Love" to "In A Mellow Tone," van Nuis has chosen an interesting and highly entertaining group of standards to present. Some highlights for me include the luscious duet versions of Tom Jones and Harvey Schmidt's "Soon it's Gonna Rain," and the haunting "Blame it on My Youth." Luis Bonfa and Carl Sigman's "A Day in the Life of a Fool," is given a compelling treatment that lingers, and the old chestnut "I've Grown Accustomed to His Face" sounds fresh and new. And Art Davis adds class and fire every time he blows a note on tunes like "Let There Be Love" and "Moonlight Becomes You." Finally, quite pleased to hear the lovely "Dansero," made famous by the aforementioned Ms. Day, given an appealing treatment that calls for repeated listening. For reviving a collection of great standards from the past, and giving them the treatment they deserve, this recording is a sweet refrain indeed. CD review for the International Association of Jazz Record Collectors Journal Excerpt from Chicago Jazz Magazine
The Two Katerinas
On a very cold Saturday night in January, on Chicago's Northside I was listening to the outstanding jazz duo of Andy Brown, guitarist and Petra van Nuis, vocalist play an obscure Cole Porter tune. Though, I had enjoyed their entire performance that evening, the thought crossed my mind at that one particular moment that Petra had it all going as a singer. The voice, the timing, the phrasing, the look, and everything else was all working and she was hitting the musical equivalent of a grand slam home run in baseball right there in front of me.
Excerpt from Los Angeles Jazz Scene CD Reviews It would not be an overstatement to say that there are a remarkable number of female jazz vocalists around today. Every week seems to bring at least ten more with new CD releases, and most are quite good. It can be a full time job keeping up with them all, but there are worse ways to spend ones time! The four singers covered in this article are far from household names but all are worth hearing. Based in Chicago, Petra Van Nuis has a sweet voice, a straightforward delivery, and tends to cut off notes quickly, a bit like Anita O’Day. One also hears touches of Billie Holiday, Blossom Dearie and Mildred Bailey in her phrasing but not in the sound of her voice which is distinctive. On A Sweet Refrain (available from www.petrasings.com), she mostly sticks to standards (many of which are not performed that often) in duets with her husband guitarist Andy Brown, quartet numbers that add bassist Joe Policastro and drummer Mike Schlick, quintet features for either trumpeter Art Davis or trombonist Russ Phillips, and selections for the full group. Petra Van Nuis’ voice grows in appeal with each listen; highlights include “Dream Of You,” “Blame It On My Youth,” “Devil May Care” and “Moonlight Becomes You.” In addition to writing nine books on jazz, Scott Yanow has written for virtually all of the jazz magazines including Downbeat, Jazz Times, Jazziz, Cadence, Coda, The Mississippi Rag, Jazz Forum, Jazz News, The Jazz Report, Planet Jazz, Jazz Now, Jazz Improv and The Los Angeles Jazz Scene as well as for the All Music Guide. For more information, please go to www.scottyanow.com. Excerpt from Chicago Jazz Magazine Self-Produced CD Releases ...In the past few years, many talented Chicago artists have elected to release their own CDs. Here are a few of my recent favorites. PETRA VAN NUIS - A Sweet Refrain Singer Petra van Nuis is in "prolific mode" these days. With back-to-back releases, the first of her two self-produced recordings is aptly titled , A Sweet Refrain. Featuring the simpatico guitar playing of her husband Andy Brown (currently the jazz singer's guitarist du jour ), Petra glides through some terrific arrangements by bassist Joe Policastro. While her winsome, expressive voice is perfect for songs like "Blame It On My Youth," she also shines on such sophisticated fare as Bob Dorough's "Devil May Care." With great solo work by trumpeter Art Davis and trombonist Russ Phillips, A Sweet Refrain is an impressive debut CD for talented newcomer Petra van Nuis. PETRA VAN NUIS AND BRADLEY WILLIAMS - Revenge of the Kissing Bug If you somehow missed Jackie & Roy, the innovative singer and singer/pianist team who originated the concept of scatty jazz duets in the late forties (and popularized songs like "Spring Can Really Hang You Up the Most") here's your chance to hear today's version. The delightful vocals of Petra van Nuis and clever singing and piano playing of Brad Williams exemplify the classic hip jazz duo. With his sophisticated arrangements and witty attitude, Brad has created a Dave Frishberg-esque setting for the vocal interweavings of Petra's crisp, clear, adorable sound, and his own understated and expressive singing. As always, Brad's piano playing is superb, and his sense of humor is fully realized on such fun and upbeat tunes as "I've got Your Number" and "Kissing Bug." Brad and Petra's beautifully sensitive reading of the Jobim song, "Photograph" is another standout track. With a great selection of songs and the fine rhythm section of bassist Dan DeLorenzo and drummer Michael Schilck, Revenge of the Kissing Bug is a winner. Note: Catching Petra's and Brad's live performances of this charming material is a must. Excerpt from Chicago Jazz Magazine The Invasion of the Cincinnati Kids I met my first Cincinnati Kid several years ago with the appearance of a beautiful and charming young vocalist named Petra van Nuis. I was frankly surprised by the fact that someone who looked like a wholesome teenage movie star was coming to my gigs and requesting cool, obscure tunes, listening attentively, and - wonder of wonders - not asking to sit in. I was equally impressed that she was also listening to master balladeer Frank D' Rone, and was choosing to hang out with Chicago treasure and longtime queen of jazz phrasing, singer Jeannie Lambert. While other youngish self-anointed local divas are still trying to learn how to "sing jazz"via the Real Book, here was Petra van Nuis, actually hanging out with the seasoned set, eager to soak up some jazz reality. Since those first meetings, I have had the good fortune to play behind Petra many times. She is delicious to accompany; with her appealing musical personality and beguiling singing style, I find it truly refreshing to play piano for her. In a town loaded with singers, Petra stands out as an unusually intriguing interpreter of great material. Petra relocated to Chicago in 2003 with her husband, and wonderful guitarist, Andy Brown. Like so many of their fellow Cincinnati musician friends, Petra and Andy still talk about their Ohio roots. And these roots always include the formidable influence of the late guitarist, Kenny Poole. Andy, who is currently performing at star-making clubs like the Jazz Showcase, the Green Mill, and various jazz destinations in between, is fast becoming one of Chicago's hottest guitarists. Like his other Cincinnati cohorts, Andy credits Kenny Poole for his love of jazz. His formative musical years having been shaped by Kenny, Andy speaks of him with reverence. "For a budding guitarist I wouldn't have wanted to be anywhere else in the world than with Cal Collins and Kenny Poole in my own backyard,"Andy says. "The fact that both these superb talents existed there at the same time blows my mind. I've never heard anything better. Kenny, especially, was my main mentor. He taught me everything you could want to know about the art of jazz guitar. It was a real apprenticeship. He never actually 'taught' me anything; he led by example. I feel so fortunate to have had such close interactions with such a great jazz musician. I saw and played with him two or three times a week for years, and I know I'll continue to learn from him, even though he's gone." Like her husband Andy, Petra also credits Kenny Poole for her interest in jazz. "I owe it all to Kenny,"she says. "I was primarily a dancer who did some singing. I was touring with regional musical theater shows while Andy was getting his feet wet in the Cinci jazz scene. Andy was very inspired by the two Cinci master guitarists, Cal Collins and Kenny Poole. Andy would see Kenny every week, and Kenny would recommend all kinds of recordings for Andy to check out -mostly guitar- but also a few singers like Julie London and Blossom Dearie. Being in the musical theater world, I had never heard this kind of stuff, and when I heard it, I flipped! It was exactly what I had always been looking for, because I loved old musicals and standards, but had only heard them sung by people with high, vibrato-laden operatic voices, or big, brassy "belty" Ethel Merman voices, neither of which I really liked. It was through the recordings that Kenny recommended for Andy (and later through singers like Ann Chamberlain and Mary Ellen Tanner, and other wonderful Cincinnati jazz musicians) that I was exposed to this great music." Thanks to Petra's eventual exposure to the jazzier versions of the Great American Songbook, she has now developed an impressive repertoire. A star on the rise, she can be seen and hear performing in a multitude of duo and trio settings around Chicago. And Petra has just recorded her first two CDs: her soon-to-be released "Jackie & Roy-esque"duo collaboration with pianist-singer Brad Williams, called The Revenge of the Kissing Bug (We were recently treated to a wonderful, impromptu preview performance of the title song at my Chambers gig - Petra and Brad are terrific together!); and, her newly released CD, A Sweet Refrain , available now, featuring Andy Brown on guitar, Russ Phillips on trombone, Mike Schlick on drums, Art Davis on trumpet, and bass and arrangements by fellow Cincinnati Kid, Joe Policastro. Chicagoans on Cincinnatians: Jeannie Lambert: "Petra van Nuis approaches songs and their lyrics with her own charming and unique innocence. There's nothing phony or flamboyant, she just sings it like it's written." Brad Williams: "Petra's clean, carefully crafted sound and predilection for obscure standards piqued my interest immediately, as did her high energy and sense of humor. I've always been a fan of Blossom Dearie, and Petra certainly incorporates that dry, almost bell-like tone. She is also capable of a soulful delivery a la Peggy Lee." Judy Roberts, named "Chicago's Favorite Jazz Woman"by the Chicago Tribune, is a Grammy-nominated pianist/vocalist/recording artist who has been serving the Chicago jazz scene for many years. For more information, please go to www.judyroberts.com |
