Livia Devereux Returns to The Metropolitan Room 10/27
By: Gabrielle Sierra Oct. 13, 2010
Livia Devereux is returning to The Metropolitan Room, Wednesday, Oct 27 7:00pm, performing songs from her recently released album "Night Winds Whisper" along with her trio with special guest, Sarah Jane Cion on piano.
The music is a mix of new and traditional arrangements of standards and popular tunes.
NEW CD
http://www.liviasings.comWhat The Press Is Saying About "Night Winds Whisper"
CD Review: http://www.allaboutjazz.com/php/article.php?id=37290
By Dan Bilawsky
Night Winds Whisper--clocking in at a mere twenty-five minutes--seems like more of a teaser than a full blown album, but vocalist Livia Devereux still manages to put her own stamp on some classics during this record's brief life span. One of the most intriguing aspects of Devereux's delivery is the way that she manages to infuse energy into material that is often placed in a different light. A case in point is her exuberant take on "Walkin' After Midnight" that opens the album. After a dreamy rubato introduction, with some shimmering piano work from Sarah Jane Cion, a brighter tempo comes into play. Devereux and saxophonist Ole Mathisen both have a snap in their step and radiate positive energy during this three-minute thrill ride.
"You'd Be So Nice To Come Home To" is buoyed by some horn background figures and the band kicks into a double time feel behind trumpeter John Walsh's solo. "Tonight"--with finger snaps and some supportive bass accompaniment--takes on a different tone than usual. The tense excitement that normally helps drive this song is absent here, but Devereux follows this perfomance up with a stunning take on "Welcome To My Love." Rosino Serrano's classy string arrangement is like a bed of clouds and pianist Robin Pitre adds just the right amount of romantic drama to this ballad. An uncredited string line moves against Cion's piano work during the introduction on "I Don't Hurt Anymore," but the focus shifts to Devereux. Trombonist Chris Washburne is an asset here, adding a good deal to this performance.
Serrano succeeds with another string arrangement on "Never Let Me Go"--making a few players sound as rich as a full orchestra--and the rhythm section creates the perfect feel. Devereux, unfortunately, seems to push a little too much here but she's back on her A-game for "You've Changed." Bassist Phil Palombi is the glue that holds this one together and his soloing--which matches the mood that Devereux sets up--is a real treat. "Come Rain Or Come Shine" ends the program and, though the rhythm section never really hits their stride, Cion gets a little solo space and keeps things interesting. In the end, Night Winds Whisper goes well beyond the muted tone of the title, giving Livia Devereux a chance to show off her vocal prowess through passionate renderings of Great American Songbook material.
CD Review: http://www.midwestrecord.com/
LIVIA DEVEREUX/Night Winds Whisper: Good thing this lady has the pipes. She's got the kind of name and the kind of looks that could easily find her at the center of a sex scandal that topples a corporate exec and if she wasn't putting these pipes to the good use she does, it would really be a waste for all of us. A total atavistic throwback to the big, bold, brassy belters that knew how to be heard in the cheap seats, her sense of swing and groove are top notch throughout. The set list is pretty much right down the middle but the delivery from everyone involved makes it fine to hear them all one more time. Hot stuff that wakes up adult ears quite nicely.
CHRIS SPECTOR, Editor and Publisher
CD Review: http://girlsingers.org/
By Doug Boynton
When I was a kid, and found a record I liked, I'd play it over and over again until Mom had enough, or until Dad got home.
This is one of those.
Livia Devereux - Night Winds Whisper (Supernatural Harmony)
Released - October 1, 2010
A look behind the scenes: when it's time to write something, I put a pile of discs into the player, and go from one to another until I hear something that sounds promising. Sometimes, I have to hear something several times before I start to get the hang of it. Sort of like when you hear a song several times on the radio, and begin to look forward to hearing it.
This is one of those that didn't have to grow on me. By about ten seconds into the first track, I'm rummaging around looking for the one-sheet from the publicist and the disc case.
Wowsers.
It's an eclectic mix of songs on this first solo recording - from a finger-poppin' version of West Side Story's "Tonight," to Patsy Cline's "Walkin' After Midnight," to the little-recorded Sammy Cahn-Bill Schluger track, "Welcome To My Love." The mix is so varied, it bothered me a little at first, because I kept trying to figure out who Ms. Devereux sounds like. I heard a snippet of Nancy Wilson here, a little Bonnie Raitt there, and a little Robin McKelle for good measure.
But finally, I set all of that aside, and decided that Ms. Devereux is a really, really good Livia Devereux.
And that, my friends, is good stuff of the very highest order. of Sarah Jane Cion on piano, Phil Palombi on bass and Kirk Devereux on drums. I especially like the track with a full horn section - Cole Porter's "You'd Be So Nice To Come Home To."
Produced and arranged by Rob Filomena, and recorded by Grammy winner Luis F. Herrera. Would I prefer a set that's a little less eclectic? Yes. But if the recording was vinyl, I'd be worried about wearing it out by now.
Besides, the author in me wants to hijack her name, and put it into a gothic mystery set in New Orleans.
By the way, the release date for this disc is October 1, according to the publicist; but you can already find it at most of the usual on-line sources. Eight tracks, under eight bucks. Well worth it. Highest recommendation for this gem. Well done.
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