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| 5.061 Ft
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| 1. | Sketches of Belief
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| 2. | Combien de Chances
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| 3. | Second Dawn
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| 4. | Twilight Curtain
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| 5. | My Only Friends Are the Pigeons
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| 6. | He's Walkin'
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| 7. | Dawn
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| 8. | Liege
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| 9. | A Night in Haiti
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| 10. | Let Her Shine
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| 11. | This Time the Dream's on Me [*]
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Jazz
"Champagne" James Robertson Guitar
Andre Wahl Mixing, Engineer
Angie Jaree Vocal Producer, Composer
Brandi Disterheft Bass (Acoustic), Composer, Whistle (Human), Double Bass, Arranger, Bass Samples, Vocals, Kalimba, Bass
Chris Gale Sax (Tenor), Saxophone
Chuck Olson Hair Stylist
Daniel Stone Percussion
Greg Reely Mastering
Harold Arlen Composer
Holly Cole Vocals, Composer, Guest Appearance
Jason Logue Trumpet
Johnny Mercer Composer
Matt Bilewicz Layout
Maura Rivera Make-Up
Peter Freeman Mixing
Ranee Lee Vocals, Guest Appearance
Rhys Fulber Producer, Bass Samples, Composer, Mixing
Roxanne Potvin Translation
Sabine Mireless Photography
Shawn Nyquist Sax (Alto)
Sly Juhas Drums
Staci MacGregor Piano
Stacie McGregor Piano, Fender Rhodes, Farfisa Organ
Superfran Records Choir Choir, Chorus
William Carn Trombone
William Sperandei Trumpet
"The leap forward from Debut (Superfran Records, 2007) to Second Side is, quite literally, a significant one for Canadian-born bassist Brandi Disterheft. Now enjoying herself immensely, the bassist appears to greet her emerging music with infinite self-assurance and unabashed style." -- All About Jazz
A listening adventure. Bold, beautiful, and brilliant ... it's Brandi! Adventurous, cinematic jazz features guest vocalists Holly Cole and Ranee Lee.
Bassist Brandi Disterheft follows up Juno-winning Debut with another debut: Second Side is first recording in new Justin Time deal. Adventurous work features standout production by Delirium's Rhys Fulber and guest vocalists Holly Cole and Ranee Lee
Sept 15th sees the release of Second Side, Brandi Disterheft's label debut for Justin Time. The Juno Award-winning bassist and composer has delivered an adventurous, joyful work, full of surprises, that's also a heartfelt paean to love.
Second Side is a refreshingly bold and beautiful work that successfully marries Brandi's taste for adventure, her unconventionality, and her desire to entertain both herself and her burgeoning fan base. From the album opener, "Sketches of Belief," with its film noir ambience, to the last track, featuring guest vocalist Ranee Lee ("This Time the Dream's On Me"), Second Side is a rewarding listen, revealing the many-layered work of producer Rhys Fulber. "Brandi is a unique artist," adds Fulber. "She's willing to both pay respect to her chosen genre and to take risks. She has a firm knowledge of jazz, yet is always looking forward."
Canada has long been fertile ground for great musicians, not least in the jazz genre, yet Brandi's intriguing ideas seem to have struck a chord with audiences wanting more than conventional jazz, and more than the pretense associated with part of the indie scene. Second Side satisfies, with its atmospheres that alternate between genres.
Second Side draws in the listener from its first strains. "Sketches of Belief," inspired by Miles Davis' "Sketches of Spain," is a lush soundscape, cinematic and expansive. Note the wonderful playing of trumpeter of William Sperandei and saxophonist Chris Gale, whose strong contributions also figure elsewhere.
"Combien de Chances" is one of two tracks that feature Brandi on lead vocals, and this first one is in French. Despite its serious, somewhat political message, it's also sonically rich and highly entertaining, with its surf guitar (conjuring John Lennon's playing on Yoko's "Walking on Thin Ice"), its relentless rhythms, and its mariachi horns.
"Second Dawn" features a dialogue between kalimba and double bass, which is then joined by Sly Juhas' drum patterns, almost industrial sounding. Incredibly, it all works, and it's the first of several brief instrumentals (along with "Second Dawn" and "A Night In Haiti") that are no less interesting than the vocal tracks, and that expertly wind throughout the album's recurring themes of love, loss, redemption and transcendence.
"Twilight Curtain" showcases a standout vocal from Brandi and shimmering production from Fulber, who co-wrote the track. "My Only Friends Are the Pigeons" features the passionate saxophone of Chris Gale, in the tradition of such great, grooving horn players as David "Fathead" Newman and Johnny Griffin.
"He's Walkin'" is a co-write with singer Holly Cole, and is one of the album's finest moments. The song chronicles the end of a relationship, with the protagonist emerging triumphant, wizened, but also nostalgic. Yet the song is also enjoyable as a joyous, raucous romp, and Cole's performance evokes early rockabilly queen Wanda Jackson at her best, circa "Fujiyama Mama."
"Liege" is a lullaby, named for the city in Belgium, and features a lovely complicity between Brandi's bass and pianist Stacie McGregor, whose playing is excellent throughout the album. This charming composition evokes Satie, in its understated yet deceptive simplicity.
"Let Her Shine" does just that - it's Brandi alone, solo bass (at first), and shows just why Oscar Peterson said "she is what we call serious." Big, bold and authoritative, this track puts to rest any doubts on whether Brandi can play her instrument.
It's not surprising that this album of almost entirely original songs should end with a standard, as that's part of who Brandi Disterheft is, a player with great respect for the past, who nonetheless enjoys a healthy taste for adventure, with one foot firmly planted in the future. Adds Brandi, "I grew up listening to Ranee Lee, so I was happy she could be part of this. Her singing is great on this track!" The choice of song is a propos as well, as it closes a superb album that's also a meditation on love, in all its "states of belief."
Not one to rest on her laurels, Brandi Disterheft has produced an impressive follow-up to a strong debut, yet it's clear that her restless creative spirit is only beginning to show its full potential. Second Side is a bold work that literally leaves one wondering what she'll think of next. We can hardly wait!
The Canadian equivalent of Esperanza Spalding, young bassist/vocalist Brandi Disterheft crosses over into many forms of modern and contemporary jazz on this, her second recording. Blessed with a sweet voice and instrumental chops to burn, she mixes up funk, pop or fusion styles with a different group on every track, and diversity in mind. Like Spalding, Disterheft uses a playful sense of wonder, retaining her youthful exuberance and even innocence. Hip and upbeat during the instrumental waltz "My Only Friends Are The Pigeons," she also could easily hit the adult contemporary charts with the exciting, vocal based "Twilight Curtain". There's a restless spirit present during most of these tracks, whether in reference to the electric Miles Davis, jangling guitar on top of hard funk, or regal sounds during "Liege". Cameo appearances from pop/jazz vocalist Holly Cole, or straight ahead singer Ranee Lee on the Harold Arlen/Johnny Mercer evergreen "This Time The Dream's On Me" with a big band, broadens Disterheft's palate further. Though not definitive or sharply focused, Brandi Disterheft proves to be a formidable talent, ready to break out, essentially scratching the surface of her enormous talent and big ears. ~ Michael G. Nastos, Rovi
Brandi Disterheft
Active Decade: '00s
Genre: Jazz
Styles: Post-Bop
A jazz bassist from Vancouver, British Columbia, Brandi Disterheft left the developmental confines of her mother's band and struck out on her own at the age of 19. Working with Canadian jazz luminaries such as Mike Murley and Richard Underhill, Disterheft soon developed a sound that won her a recording deal, and in 2007 she debuted those talents on the appropriately titled album, Debut. The album, featuring Chris Gale, Alexander Brown, Nathan Hiltz, Adrean Farrugia, David Virelles, Sly Juhas, and Sophia Perlman, was a critical success, and earned Brandi Disterheft a nomination at the 2008 Juno Awards. In addition to her larger format band, she is also a co-leader of a trio.
---Chris True, Rovi |
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