Dal Vivo a Umbria Jazz K.J. Denhert

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CD

  • Release Date: 10/14/2008
  • Sales Rank: 38,714
  • Label: MOTEMA MUSIC
  • UPC: 181212000177
 
  • Overview
  • Tracks
  • Editorial Reviews
  • Details & Credits
Track List
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Dal Vivo a Umbria Jazz

1LISTENEnzo's Intro 1:01
2LISTENLittle Problems 6:33
3LISTENI Got Time 6:44
4LISTENHe's Not Coming Home 4:40
5LISTENAll These Things 4:18
6LISTENAugust Clown 5:41
7LISTENViolet 6:29
8LISTENI Like Your Face 5:53
9LISTENMessage in a Bottle 9:54
10LISTENTicket to Ride 7:30
11LISTENOver the Rainbow 6:07
12LISTENKJ's Thanks -- WMN Groove Out 3:23

About this Artist

Editorial Reviews

Vocalist/guitarist K.J. Denhert is a retro R&B-pop singer/songwriter whose clear voice and soulful style cross over into contemporary blues, so-called "smooth" jazz, and folk-rock. If you enjoy Shemekia Copeland, Pyeng Threadgill, Joan Armatrading, or even Tracy Chapman and Nina Simone, it's likely you'll enjoy Denhert. This live concert at the Umbria Jazz Festival showcases mostly original material that concentrates on typical themes of social graces, personal issues, and -- of course -- love. Keyboardist Bennett Paster and guitarist John Caban add the most interest instrumentally, while the solid rhythm section of drummer Ray Levier, percussionist Kevin "Bujo" Jones, and electric bass guitarist Mamadou Ba keeps the group focused and in check. Saxophonist Aaron Heck is unfortunately the weakest link, playing clichés line after line after line as afterthoughts or lightweight filler. Thankfully, Dennert is not fluffy, especially when singing about a place to love again in "I Got Time," or during her heartfelt "Over the Rainbow" and over the distinctive modal guitar-based arrangement of "Ticket to Ride." Denhert glides through a funky groove commenting on the bar scene and television crowd on the somewhat self-deprecating "August Clown," and reaches out to a cute dude on "I Like Your Face." At her most spacious and ethereal, "Violet" exposes her sensitive spirit alongside Paster's piano, hits a formulaic but bright Brazilian-shaded note for "All These Things," and goes into true retro Latin boogaloo mode pining about a lost man friend in "He's Not Coming Home." This is certainly commercial radio-friendly fare, and something here will stick as a semi-hit somewhere. Denhert gives of herself graciously and has a populist appeal, and as she further refines her approach, the sophistication of her music should summarily rise. Michael G. Nastos, All Music Guide

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