{"id":4693,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/gretchen-parlato-in-a-dream\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"gretchen-parlato-in-a-dream","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4693","title":{"rendered":"Gretchen Parlato &#8211; In A Dream"},"content":{"rendered":"<table width=\"100%\" cellpadding=\"5\">\n<tr>\n<td valign=\"top\">  <img decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/in_a_dream.jpg\" align=\"right\" border=\"1\" hspace=\"4\" \/><font size=\"3\" color=\"Blue\" face=\"Verdana\" style=\"font-face:verdana; font-size:16px\"><strong>Gretchen Parlato<\/strong><\/font><br \/><font size=\"2\" color=\"Blue\" face=\"Verdana\" style=\"font-face:verdana; font-size:14px\"><strong>In A Dream<\/strong><\/font><br \/><font face=\"Verdana, Helvetica\" color=\"000000\" size=\"1\" style=\"font-face:verdana; font-size:11px\">  ObliqSound &#8211; 2009<br \/>Ray Redmond<\/p>\n<p><font size=\"2\" style=\"font-family:verdana; font-size:13px\" face=\"Verdana, Helvetica\"><\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">&#8220;In a Dream&#8221; finds Parlato embarking on a beguiling journey deep into the heart of both her own compositions and classic material by the likes of Stevie Wonder, Duke Ellington, Herbie Hancock, Wayne Shorter and others &#8211; all of which she instantly makes her own. <\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">\u00a0<\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">Backed by scat vocals\u00a0and bass licks Parlato transforms Michael Jackson&#8217;s pop hit <strong>I Can&#8217;t Help It<\/strong>\u00a0into a\u00a0smooth and heartfelt jazzy lullaby. On\u00a0<strong>Butterfly,<\/strong>\u00a0a Herbie Hancock cover, she again takes\u00a0ownership of the tune and applies her stylings and lilting vocals to take it to another level of melodiousness.\u00a0Other tracks to\u00a0note are the\u00a0floating\u00a0<strong>In A Dream<\/strong>, and the rhythmic <strong>On The Other Side<\/strong>, which is strangely reminiscent of some of <em>Basia&#8217;s<\/em>\u00a0earlier stuff.\u00a0<\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">\u00a0<\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">A lot of the credit goes to the band for being good enough to accompany her fragile vocals without stepping on them. Lionel Loueke on guitar, Aaron Parks on piano and Fender Rhodes, Derrick Hodge on acoustic and electric bass, and drummer Kendrick Scott.<\/p>\n<p style=\"MARGIN: 0in 0in 0pt\">\u00a0<\/p>\n<p style=\"MARGIN: 0in 0in 0pt\"><font color=\"#660000\" size=\"2\"><em>Both Hancock and Shorter are already fans. Hancock has said that Parlato has a &#8220;deep, almost magical connection to the music,&#8221; and Shorter has said &#8220;in an inconspicuous way, Gretchen plays the same instrument as Frank Sinatra.&#8221; <\/em><\/font><\/p>\n<p style=\"MARGIN: 0in 0in 0pt\"><font color=\"#660000\" size=\"2\"><em>\u00a0\u00a0 <\/em><\/font><\/p>\n<p style=\"MARGIN: 0in 0in 0pt\"><font color=\"#660000\" size=\"2\"><em>Parlato graduated from UCLA with a BA in Ethnomusicology\/Jazz Studies, then went on to attend the Thelonious Monk Institute of Jazz Performance, as the Institute&#8217;s very first vocalist. Parlato won the prestigious Thelonious Monk International Jazz Vocals Competition and, in 2005, self-released her debut. <\/em><\/font><\/p>\n<p><font color=\"#330000\" size=\"2\"><\/font>\u00a0<\/p>\n<p><font><br \/><?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/font><\/font><\/font><\/td>\n<\/tr>\n<\/table>\n<p><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gretchen ParlatoIn A Dream ObliqSound &#8211; 2009Ray Redmond &#8220;In a<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4693","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4693","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4693"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4693\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4693"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4693"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}