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| 4.060 Ft
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| 1. | Daybreak
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| 2. | In April
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| 3. | Autumn Serenade
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| 4. | Young And Foolish
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| 5. | I Love You
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| 6. | Quiet Now
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| 7. | Get Used To It Baby
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| 8. | That Old Sweet Song
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| 9. | Heaven Sent
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| 10. | All Or Nothing At All
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| 11. | This Lament
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| 12. | Indian Summer
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| 13. | Peace
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| 14. | Oh Look At Me Know
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| 15. | Love Is Not A Game
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Jazz
Meredith d'Ambrosio - vocal, piano
Eddie Higgins - piano
Kevin Eubanks - guitar
Rufus Reid - bass
Keith Copeland - drums
"Intelligence. Taste. Restraint. Subtlety. Insinuation. Harmonic sensibility. Voice production that seems effortless. Purity of intonation. Flawless diction, timing and phrasing. These are the aesthetic principles employed by Ms. d'Ambrosio in her wizardry of interpretation." (Doug Ramsey/Jazz Times)
Boston born Meredith d'Ambrosio, a renaissance woman of international critical acclaim, has successfully combined careers in the musical and visual arts. Her musical sojourn began in 1958 in Boston singing with small bands with Roger Kellaway on piano. Although she worked primarily as a jazz singer-pianist she is also known as a respected calligrapher, watercolorist, creator of eggshell mosaics, composer, lyricist, recording artist and teacher. She branched out into NYC in 1981, and since that time has been touring extensively throughout North America and Europe performing with such musicians as Harold Danko, Bob Dorough, Dave Frishberg, Fred Hersch, Eddie Higgins, Dick Hyman, Hank Jones, Lee Musiker, Mike Renzi, Richard Wyands, Milt Hinton, Major Holley, Jay Leonhart, Michael Moore, George Mraz, Rufus Reid, Leroy Vinnegar, Buddy DeFranco, Harry Allen, Lee Konitz, Ken Peplowski, Phil Woods, Jack Sheldon, Don Sickler, Al Grey, Johnny Frigo, Gene Bertoncini, Kevin Eubanks, Joe Ascione, Terry Clarke, Keither Copeland, Jake Hanna, Butch Miles and Ben Riley to name a few.
Meredith d'Ambrosio continues to delight those who have come to expect a high degree of proficiency in her artistic offerings and has shown herself to be, if not an iconoclast, one who is comfortable enough with her own sense of self to challenge the mainstream concept of popularity without sacrificing considerable talents and originality.
"To listen to d'Ambrosio is to abandon oneself to her charm. She leaves you spellbound with her impeccable diction, great sense of phrasing, intonation, and gentle swing, showing an unaffected simplicity and inner lyricism that expresses more than all the high-soaring excesses of scat singers." (Serge Baudot, Jazz Hot, France) "Her secret, one shared by very few singers, is her ability to deliver the meaning of a lyric in her understated and hip-as-can-be way." (George Fendel, Portland Jazzscene) |
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