[utube foo=”KDcYvy349Xg”]The best analysis for Carmen Lundy\u2019s music is that which the title and lyrics of her songs themselves furnish when we listen closely. The award-winning vocalist\/composer\/arranger may also be called a romantic especially since her present offering titled Changes is a masterpiece of melodic simplicity and emotional expressions. However these elements (melodic simplicity and emotional expressions) do not prevent Ms. Lundy from making it clear that she is a truly remarkable jazz singer who can deliver a song with vivid colors, mosiac-like textures and swing with the best of today\u2019s jazz musicians or sing an intimate ballad while still focusing her romantic imagination. <\/p>\n
From the opening retro stylings of \u201cThe Night Is Young\u201d to the profound tenderness of the last sentence of \u201cWhere Love Surrounds Us,\u201d Carmen Lundy keeps you mesmerized. The set consists of 9 inspired songs either written or co-written by Carmen Lundy with the exception of \u201cA Nightingale Sang In Berkeley Square.\u201d Ms. Lundy sings, plays the harp, and also wrote the string and horn arrangements. Joined by her ensemble of Anthony Wonsey on piano and Fender Rhodes, Kenny Davis on acoustic and electric basses, Jamison Ross on drums and percussion, guest artist Oscar Castro-Neves on guitar, Nolan Shaheed on trumpet and flugelhorn and George Bohannon on trombone \u2013 all play equally well and compliment Ms. Lundy with the highest quality of their musicality. <\/p>\n
Her multi-octave vocals are beautiful, convincing and faithfully illustrated with no unnecessary riffing or vocal gymnastics. Overall, all of the songs are sung superlatively and with Changes, Ms. Lundy tops the high standards set on her previously released recordings. <\/p>\n
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[utube foo=”KDcYvy349Xg”]The best analysis for Carmen Lundy\u2019s music is that<\/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-8639","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8639","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=8639"}],"version-history":[{"count":4,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8639\/revisions"}],"predecessor-version":[{"id":8733,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8639\/revisions\/8733"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8639"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8639"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8639"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}