"You can hear that she is really a jazz vocalist, in terms of timing, swing, flair and finesse."Jazzism, 26-4-2018
On this album the young Italian jazz singer Chiara Pancaldi shows once again talent to sing jazz standards in a flawless and convincing way. Her pure voice was noticed by Kirk Lightsey and Darryl Hall and they formed an pure acoustic trio to record this album.
The recording is a true live session, where they all took chances and improvised a lot. Each song, whether it is the famous standard On the Sunny Side of the Street or the obscure Strayhorn tune Love Came, has its own atmosphere.
Two special guests enrich the session, both in a ballad: Jeremy Pelt, who plays on What is There to Say, the track that gives the record its title, and Laurent Maur, who played in A Timeless Place (The Peacocks).
Auf diesem Album beweist die junge italienische Sängerin Chiara Pancaldi einmal mehr ihr Talent, Jazzstandards makellos und überzeugend zu singen. Ihre reine Stimme erregte die Aufmerksamkeit von Kirk Lightsey und Darryl Hall, und sie taten sich zu einem rein akustischen Trio zusammen, um dieses Album aufzunehmen.
Die Aufnahme ist eine wahre Live-Session, in der alle Risiken eingingen und viel improvisierten. Jeder Song, sei es der bekannte Standard On the Sunny Side of the Street oder den Strayhorn-Tune Love Came, hat eine ganz eigene Atmosphäre.
Zwei besondere Gäste bereicherten diese Session, jeweils in einer Ballade: Jeremy Pelt, der in What is There to Say zu hören ist, dem Track, der dem Album seinen Titel gibt, und Laurent Maur, der in A Tmeless Place (The Peacocks) spielt.
talian jazz singer and songwriter Chiara Pancaldi with a “light’s as air sound and beautiful phrasing” (Jazzwise Magazine) “never fails to excite or impress” (Jazztime magazine).
Born and raised in Bologna, a small town in the North of Italy, she started classical piano studies at 10, and singing since her very early childhood. She soon developed an interest in jazz, singing along with the records and jamming with musicians.
Chiara graduated from the University of Bologna in 2008 with a Master’s Degree in Anthropology, with a thesis on Indian Classical Music, then graduated from the Conservatory of Bologna in 2012 with a Master’s Degree in Jazz Music.
She has performed live in clubs and festivals in Italy, France, Germany, Austria, England, Bulgaria, Japan: Bansko Jazz Festival, Italian Cultural Institute in Tokyo, Audi Forum Jazz, Cala Gone Jazz Festival, Garda Jazz Festival, Padova Jazz Festival, Museo Internazionale della Musica, Umbria Jazz, London Jazz Festival, CrossRoads Jazz Festival, Sunset Sunside Jazz Club, Jazzkeller Jazz Club, Porgy and Bess, Unterfahrt Jazz Club, Teatro Giordano, Teatro Morlacchi, Ancona Jazz Festival, Bologna Jazz Festival, Muze Cultural Center, Torrione Jazz Club, Alexander Plaz Jazz Club, Cantina Bentivoglio Jazz Club, Paradiso Jazz Festival, Blue Note Milano, and many more.
She has collaborated and toured with many great european and american jazz musicians such as Cyrus Chestnut, John Webber, Joe Farnsworth, Darryl Hall, Kirk Lightsey, Don Menza, Vincent Bourgeyx, Olvier Hutman, Jeremy Pelt, Laurent Maur, Fabrizio Bosso, Roberto Tarenzi, Piero Odorici, Nico Gori, Bernd Reiter, Helmut Kagerer, Marc Abrams, to name a few.
Her second album I WALK A LITTLE FASTER, with Cyrus Chestnut on piano, John Webber on bass and Joe Farnsworth on drums, has been awarded as Best Vocal Jazz Album 2015 by the Jazz Critique Magazine.
Her last album WHAT IS THERE TO SAY (Challenge Records International) features the legendary Kirk Lightsey on piano and Darryl Hall on bass. Two special guests enrich the session, both on two ballads: Jeremy Pelt who played on What is there to say, the track that gives the title at the record, and Laurent Maur who played on A timeless place (The peacocks).
With her new project SONGS DON’T GROW OLD ALONE she looks for a new sound that is influenced by contemporary jazz and brazilian music. The repertorie has original songs and some brazilian, pop and folk songs rearranged, explored with freshness and a strong lean towards interplay and improvisation.
Duke Ellington influenced millions of people both around the world and at home. He gave American music its own sound for the first time. In his fifty year career, he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia.
Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onand will endure for generations to come. Winton Marsalis said it best when he said "His music sounds like America." Because of the unmatched artistic heights to which he soared, no one deserved the phrase “beyond category” more than Ellington, for it aptly describes his life as well. He was most certainly one of a kind that maintained a llifestyle with universal appeal which transcended countless boundaries.
Duke Ellington is best remembered for the over 3000 songs that he composed during his lifetime. His best known titles include; "It Don't Mean a Thing if It Ain't Got That Swing", "Sophisticated Lady", "Mood Indigo", “Solitude", "In a Mellotone",and "Satin Doll". The most amazing part about Ellington was the most creative while he was on the road. It was during this time when he wrote his most famous piece, "Mood Indigo"which brought him world wide fame.
When asked what inspired him to write, Ellington replied, "My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people".
Duke Ellington's popular compositions set the bar for generations of brilliant jazz, pop, theatre and soundtrack composers to come. While these compositions guarantee his greatness, whatmakes Duke an iconoclastic genius, and an unparalleled visionary, what has granted him immortality are his extended suites. From 1943's Black, Brown and Beige to 1972's The Uwis Suite, Duke used the suite format to give his jazz songs a far more empowering meaning, resonance and purpose: to exalt, mythologize and re-contextualize the African-American experience on a grand scale.
Duke Ellington was partial to giving brief verbal accounts of the moods his songs captured. Reading those accounts is like looking deep into the background of an old photo of New York and noticing the lost and almost unaccountable details that gave the city its character during Ellington's heyday, which began in 1927 when his band made the Cotton Club its home.''The memory of things gone,'' Ellington once said, ''is important to a jazz musician,'' and the stories he sometimes told about his songs are the record of those things gone. But what is gone returns, its pulse kicking, when Ellington's music plays, and never mind what past it is, for the music itself still carries us forward today.
Duke Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, and the Legion of Honor by France in 1973, the highest civilian honors in each country. He died of lung cancer and pneumonia on May 24, 1974, a month after his 75th birthday, and is buried in theBronx, in New York City. At his funeral attendedby over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion, "It's a very sad day...A genius has passed."
You can hear that she is really a jazz vocalist, in terms of timing, swing, flair and finesse.
With a lighter voice than the great American examples from jazz history, the Italian singer maintains the timing, technique and know-how of a typical mainstream jazz vocalist.