September 2006

You must have muscular chops to do what Stevie Holland attempts. You need a feel for jazz phrasing and, above all, you should be firmly rooted in theater. Holland has it all and succeeds beautifully. The willowy blonde also writes impressive lyrics (check "Firefly"), but few singers can boast the conception provided by producer-arranger-conductor Gary William Friedman. Take Kenny Loggins’ "This Is It." It begins simply with guitar. By the time the bass enters, it begins to build logically. Add the dramatic know-how of Holland’s voice and you have a complete theatrical experience. They do it with the Schwartz-Dietz classic "By Myself" and Lerner-Loewe's "If Ever I Would Leave You." (Being a lyricist, Holland knows how to bring out an internal rhyme like 'springtime and spring, I’m.") Her cabaret instincts take a noxious novelty like "‘Murder, He Says’" and make every dumb word understandable. "Day by Day" swings confidently, with pianist Martin Bejerano descending at the end while Holland soars in the other direction. She feels right at home with the bossa phrasing of "Desafinado," and her whole range of jazz dynamics emerges from Kern's "Yesterdays."

May 31, 2006

To the next level and beyond this siren of swing has taken her newest gift to the jazz world? After a success debut, some artists bequeath fans with mediocrity staying in a comfort zone however this vocalist never visits the same real estate twice as she accelerates her expertise to a new dimension in this uplifting 2006 release. Stevie Holland is genuine talent… More Than Words Can Say is a wonderful piece of entertainment which offers standards and originals all with such range and pure sentiment delivered in a distinctive style.
The presence of her tones is one thing but the disc tenders an impressive band resonance as well. Her stage consists of fine artists whom compliment her range and their diverse nature allow for the arrangements and melodies to marry with ease. A tender moment in jazz vocalization! Case in point, swelter in the mood of Gary Friedman's "Lovingly" as it's translated by Holland for it electrifies the nerves and stimulates the memories…
Released in May of this year by 150 Music More Than Words Can Say has all the makings of a highly talked about effort. Her confidence with swing just jumps out at you through this disk spin. This alone exhibits a true sense of focused direction on route to a sultry cool!
Holland simply is polished and fine tuned ready for numerous spins with every effort undertaken.
The title cut "More Than Words Can Say" lyrically divine by the creative pen of Ms Holland with Friedman's sculpted notes aligns this to be a hot yet sensitive relationship for the jazz listener. The words are simple, I will grant you but tied to the emotion and impact musically, this cut drives those loves of the past memories into overdrive!
Ms. Holland has arrived once more never to look back on the tails of two very nice efforts, this 2006 piece is just what the jazz world expects and as is delivered…accolades to its existence!

June 6, 2006

We are enjoying an embarrassment of riches in the area of female jazz vocals. There's a lot of wheat out there, and some chaff. Here's some of the whole grain.
Stevie Holland's previous recording, Restless Willow, demonstrated Holland's confident grace and the delicacy of her voice. On More Than Words Can Say, Holland pulls out the stops and blows the carbon from her pipes…with strings. She torches the place with the Ram/Rand standard "Only You." Building through the first chorus, Holland, propelled by piano, organ, and tenor, allows her voice to spread to all its edges, increasing both the temperature and the humidity.
Rather than turn the acetylene down, Holland breaks the knob off on high and propels Jerome Kern's "Yesterdays," igniting pianist Martin Bejerano to deliver an incendiary solo. Then she pulls back, cushioned by strings, in her delivery of the ballad "If Ever I Would Leave You," nudging Bejerano back into plaintive piano thoughtfulness.
Holland proves as capable with contemporary material as standards. She dispatches Kenny Loggins/Michael McDonald's "This is It" readily, leaving just enough pop to jettison the disc into the adult contemporary market, where it would be welcomed. The Holland/Neil Wolfe original, "Firefly" floats above Hans Glawischnig's vehicular waltzing bass line. Holland further proves the capable lyricist on the shiny seasonal "Evening Song" (music composed by Gary William Friedman). Stevie Holland is beginning to come into her own. It should be our good fortune as listeners to witness.

June 2006

A dozen songs, with variety being the key word, make up Stevie Holland's newest album, More Than Words Can Say. Her appealing, warm voice graces old favorites like the pop hit "Only You," shearing it of the corn that often comes with it, singing with passion without going over the top. Restraint is an admirable quality that this jazz-leaning vocalist has…Her song choices by writers with theater resumes includes "Yesterdays" (Kern/Hammerstein), which she also frees of any stodgy formality (not a small task with a lyric that includes the word "forsooth"!). Additionally, she gets to Camelot's (Lerner & Loewe) romantic "If Ever I Would Leave You," and breezes through Schwartz & Dietz's "By Myself." For comedy, Stevie takes on what was a raucous Betty Hutton number, "Murder, He Says," substituting a jazzier, subtler (anything is subtle compared to Hutton) jive for the wildness, in a sort of hip replacement surgery. Another theatre composer vet represented is her husband and musical partner, Gary William Friedman. Theater buffs know him as the writer of musicals like The Me Nobody Knows, Taking My Turn and Platinum. The two collaborated on the album's title number, an effective and sincere look at devotion.
Stevie also wrote the lyrics to "Firefly" with Neil Wolfe's music, and Gary's music is mated to poetic words by Sandra Hochman for "Lovingly." But it's the couple's teamwork that's best: their other music-and-lyrics pairing is a touching song about a father and daughter attempt at ending an estrangement ("Evening Song"); not expecting miracles from a Christmas reunion, it feels real and has a dignified quieter drama of its own.
Gary is also co-producer (with Tim Peierls) and did the arrangements, orchestrations and conducting. The musical treatments show adventure and put Stevie in comfortable and intriguing settings….With the Kenny Loggins/ Michael McDonald hit "This Is It," Stevie neatly removes the insistent rhythm that seemed to be the pop record's raison d'être and slows it down, in a romance-by-the-fireside feel. Adventurous.
The singer has a luscious quality to her voice and some exciting and pretty sound in the higher register…When she lays into notes and wraps them in her velvety, languorous style, it's quite a joy. Stevie's New York CD release performance is at Iridium Jazz Club in midtown on June 14th.

Los Angeles/San Francisco-Bay Area/Chicago Print Edition
June 2006 Vol. 4 No. 5

Stevie Holland sure can sing! Blessed with a full and attractive voice, Holland throws her all into each song and puts out an engaging and irresistible display of musical emotions on the charming More Than Words Can Say. Backed by a diplomatic mixture of jazz musicians and strings, Holland sings, prowls and soars through Gary William Friedman's cleverly arranged charts on the likes of "Only You" and "Day By Day". This is not a rehashing of oldies, but a breathing of new life into dry bones that rekindle the melodies and lyrics. Jerome Kern's "Yesterdays" lays down a hard driving beat that Holland just tears through with her crystalline voice, which impressively has the precision of a diamond cutter. She delivers quite well on her own compositions as well. The lonely "Evening Song", with dreamy piano and sax work by Martin Bejerano and Ole Mathisen respectively, is mature and thought provoking. Likewise, Holland's voice is poignant on the moody and string-laden "Lovingly". Throughout More Than Words Can Say, well known songs are respectfully redressed, and intertwined originals feel right in place. Here's a lady who is singing with feeling. I just would like to know when's she coming to town?

April 23, 2006

Yikes.
The first track on this disc is the old chestnut, "Only You." Halfway through, I took the disc out of the computer and ran upstairs to the living room. I wanted to hear this on the good speakers. The Big speakers. I wanted to be able to turn it up loud…I have never heard a voice this powerful with this much range and - well, on the ballads, Ms. Holland's voice is sensitive and downright sweet. The combo is not simply backing her - she's an integral part of the total package..."Only You" is a fine opener for this set. "'Murder,' He says" is a question of timing, and Ms. Holland delivers. And the original "More Than Words Can Say" is simply outstanding…I'm fumbling a bit, because "more than words can say" is a perfect way to describe Ms. Holland's voice.
You must hear this. Very highly recommended.

-- Doug Boynton, Girlsingers.org

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Jazz Review Publisher’s Pick January 2005!

Stevie Holland’s newest release Restless Willow is a CD that radiates warmth, as does the singer herself. The New York vocalist spent a few years on the cabaret circuit and has recently turned her attention to jazz. The jazz world should welcome Stevie heartily as she is indeed, a rising star.
Although showing an admiration for Ella and Sarah, Stevie Holland blazes her own trail very nicely. The new album finds the singer and her fine New York group romping through a mix of pop and jazz standards plus some more obscure songs. Stevie’s gently-swinging How Long Has This Been Going On is very classy and is topped only by her perfect rendition of Stardust. The latter finds Holland accompanied by guitarist Sean Harkness, a match made in heaven.
One Touch is a Gary William Friedman original with lyrics penned by the singer. The young singer, Ruben Flores joins Stevie for a quietly joyous performance. It’s a gem!
The Stevie Holland version of Lush Life does justice to Billy Strayhorn’s earliest hit. Interestingly, he wrote Lush Life in 1935, a full three years before he met Duke Ellington. Oddly, Strayhorn didn’t bother to copyright the song until 1949 when Nat King Cole decided to record it. Those who enjoy up-tempo tunes will like Holland’s burning treatment of Summertime and the very hep Zoot Walks In with swinging sax by Dave "Fathead" Newman. Here is a truly honest young songstress whose warmth and stage presence will capture your ear. Lovely music!

With the title derived from the opening track, “It Might As Well Be Spring,” singer Stevie Holland could be considered the personified restless willow. Holland has an easy vocal style that never falls prey to over-extension. She swings with a confident grace, her phrasing tasteful and accurate. These are the things that may strike the listener upon spinning Restless Willow for the first time. Skip on over to “Summertime” and hear a performance that will not blaze new trails in jazz vocals but does provide a thoroughly enjoyable listening experience.
Restless Willow is a recording that demonstrates that simple entertainment is one of the most important functions of the vocal arts. This thought couples conservative performance with a standard repertoire. Stevie Holland has expertly achieved both of these. Her choice of material is measured. “Summertime,” “How Long has this Been Going On,” “Lush Life,” and “Stardust” are all dispatched with professional skill and youthful exuberance. But Holland does throw a curve. “Zoot Walks In” is the most delightful piece on the record. With music by Zoot Sims and Gerry Mulligan with words by Dave Frishberg, “Zoot Walks In” is a vocalese dream in the hand of the capable Holland.
Holland has great support on this recording with the likes of percussionist Steve Kroon and saxophonist David “Fathead” Newman. Ruben Flores duets with Holland on “One Touch,” filling out this fine recording with a measure of class. We should look forward to hearing more from Stevie Holland.

This year's Back Stage Bistro Award winner for Outstanding Vocalist of the Year, Stevie Holland, has released a delightful jazzy album entitled Restless Willow (the title is inspired by its opening number, "It Might As Well Be Spring," which Holland delivers with restrained joy). While the majority of the album consists of jazz standards, such as "Summertime" (given an ever increasingly exuberant guitar-driven arrangement by Gary William Friedman), "Lush Life" and a version of "Here's That Rainy Day" that tosses in a touch of Jobim (plus a sprinkling of "Soon It's Gonna Rain" for good measure), the real highlights are the lesser known numbers: a very Brel sounding "Love Is Stronger Far Than We" (by Francis Lai and Pierre Barouh, with English lyrics by Jerry Keller) and David Frishberg's "Zoot Walks In". Throughout, Holland displays a sure but light touch and an emotional honesty that is enthralling.

Stevie Holland has a beautiful and flexible voice. Her CD constantly varies the personnel (sometimes featuring pianist George Small and at other times guitarist Sean Harkness) and covers a few different styles. The music includes standards at a variety of tempos, some songs that sound close to show tunes and heartfelt ballads. There are also guest appearances (one apiece) by Rubén Flores (who sings a duet with Holland on “One Touch”), flutist Joe Mennonna and tenor-saxophonist David “Fathead” Newman (who swings on “Zoot Walks In”). Among the most memorable selections are a happy interpretation of “It Might As Well Be Spring”, an up-tempo “Summertime” and a wonderful version of “Stardust” in which Stevie Holland's voice is backed by just Harkness' guitar. All in all, this is an impressive effort.

Singing standards with a clear delivery and a happy outlook, Stevie Holland gives her audience an intimate approach and a convincing, heartfelt persuasion. James Taylor's "Sunny Skies" coasts along gently with a buoyant aura, allowing Holland to interpret its positive lyrics with a graceful piano trio alongside. "Zoot Walks In" brings an equally rosy outlook with jazz piano trio and tenor saxophone, but the drive of her interpretation glows with much more emphasis. It's the high point of the session, as Holland performs the chorus in vocalese and then scat sings in unison and close harmony with David "Fathead" Newman, bringing the song's lyrics to life.
"Stardust" and "Summertime" pair the singer with acoustic guitar. Elsewhere, she's joined by an ensemble that includes strings. The result is a lush accompaniment that complements her sparkling voice. Holland sings about romance with a passionate spirit. Musically accurate and emotionally warm, she paints an intimate picture for her audience. Restless Willow provides a lovely session of familiar songs with the genuine sparkle of Holland's voice woven into the fabric naturally.

"Almost Like Being In Love"

"Singers who avoid vocal tricks while making their presence felt deserve to have petals strewn before them. Stevie Holland has the ability to make a song her own by doing nothing more than being true to the words and melody. It's all in the phrasing and in the emotions that the selections unlock in her. It's also in the way her voice floats like dandelion seedlings on a breeze..."

"Stevie Holland has a distinctively earnest voice that she can shape to the dictates of her material. She is soulful on "Since I Fell For You", hopeful and innocent on "Trolley Song", seductive on "Love For Sale" and refined on "All The Things You Are". The CD is a simple but powerful showcase for her singing and shows her versatility..."

"Holland has a creamy alto voice that's distinctively soothing. It possesses a natural clarity with a smoky quality that's both sexy and comforting. Her phrasing and stylistic instincts remind me of Mary Cleere Haran and Chris Connors with the sassy, swinging understatement of Peggy Lee thrown in for good measure. When she wants to kick it, as she does on a rollicking "Love For Sale" or a wicked "Bluesette," she's confident in her choices. However, she's equally at home on ballads where her heartfelt readings are simple, elegant and honest. A collection of standards both classic and contemporary, "Almost Like Being In Love" is a winner from a singer with taste and style..."

"Stylish and elegant spells Stevie Holland, not only in her tall, blonde looks but in the sophisticated, intelligent way she soars into the spirit of a song. In a one-night-only reprise of her show, "Almost Like Being In Love" at the Triad, Holland unfurled her satiny voice to embrace a selection of premier songs, each alluding to love. With confidence, she delved into a marrow of moods, linking the songs together with concise, relevant patter. Without tricks or vocal embroidery, she showed how to swing out on a tune like "Bluesette" and her up-tempo "Love For Sale" built to the end with sensuous urgency. Holland brought a Scotch and soda edge into her phrasing of "Since I Fell For You", shaded "Here's That Rainy Day" with a soft disillusion and rendered a fervent elegance to Barry Manilow's light pop song "Could It Be Magic?"..."

"A promising musical kiss of rare beauty…her voice has a delicate beauty that mingles with a sultry side filled with emotion. You believe she means every word because each inflection of her voice absolutely reflects the meanings. Standards like "Autumn in New York" have never come across so beautifully and "Isn't It a Pity" has never sounded this sultry…once you hear this CD, it will be impossible to get the memory of Stevie Holland's voice out of your heart. The only thing better than owning this CD would be seeing her sing in person."