Full Reviews

“Here’s a singer with a lot of great ideas, and the ability to deliver them. It’s her debut disc, and the closest thing I can compare it to is Madeleine Peyroux’s debut Dreamland, way back when. It’s got the same feel — take some songs people consider kind of standard, use whatever instrument seems to be lying around, and have some fun with it. The opening “Sugar” includes a funky Mingus bass line as the intro, while crickets create the twinkling mood of an ethereal “Twilight Time.” An Indian folk take with guitar [sitar] and tabla, give a whole different meaning to “Nature Boy,” while the Brazilian lilt of “I Fall In Love Too Easily” gives it an extra sense of bluesiness. Suttenfield herself sounds comfortable in her own skin, and quite work-wise for a rookie — she sounds like she means it when she recites “Ode to Billy Joe” as if giving out the story between sips of coke at the local Texaco. Give me more!” – George W. Harris, JazzWeekly


Kelley Suttenfield – Where Is Love?

“Smoky, sultry fumes emanate from Kelley Suttenfield’s vocals like liquid fire. Here’s a gal who puts her entire being into the songs cradling the lyrics in her vocals and stoking the embers in the verses with a velvety touch. Her latest CD Where Is Love?, a question which many people are on the search to find the answer to, is Suttenfield’s debut record as a solo artist. Performing an array of cover tunes with a torchlight glisten including Stanley Turpentine’s “Sugar,” Betty Carter’s “Open The Door,” and Henry Mancini’s “Charade.” Suttenfield encourages the listener to delve into an imaginary sanctuary filled with tender arias and angelic hues. Her rendition of John Lennon and Paul McCartney’s timeless classic “And I Love Her” injects a tint of hope in the lamenting verses of the original as Michael Cabe’s soft, twinkling piano keys offer a stratum of support to Suttenfield’s wispy strokes. The album picks up with a jolt of slinky blues-funk in the sultry-infested grooves of Bobbie Gentry’s “Ode To Billy Joe,” then descends to a soft simmer in the Latin-tinged aria of “Coracao Vagabundo” written by Caetano Veloso. As strongly as Suttenfield’s register recalls of classic beauties like Dinah Washington and Nancy Wilson, she has a style that is all her own demonstrating a flare for swing jazz with modern trimmings in “Open The Door.” Her timbres are effective without being overtly dramatic or exaggerated. She has a pitch that enables the listener to sit back and enjoy the inner calm which her singing produces. The wavy motions which she creates in her vocal melodies are soothing and complement the gentle esthetics of the music. The middle eastern shading of Eden Ahbez’s “Nature Boy” exudes an earthy feel in Suttenfield’s register complemented by the exotic accents of the tabla played by her drummer Brian Adler. The track steps away slightly from the overall soft bop complexion of the album but makes for a beautiful reprieve and a gorgeous duet between the tabla and piano musings. Suttenfield jumps back into the pool of cool barroom-inspired bop in Wes Montgomery’s “West Coast Blues,” and shines radiantly along the balladry buds of Jule Styne and Sammy Cahn’s “I Fall In Love Too Easily.” Kelley Suttenfield’s album speaks to those whose hearts beckon for romance and minds have a tendency to be swept away by the touch of ecstasy. Her timbres have an earthy hue which keeps her feet firmly planted on the ground while her vocals call out to the pleasure that dreams induce. Her album bottles ecstasy in its most natural form and shares it openly with the listener.” – Susan Frances, JazzTimes


Kelley Suttenfield: Finding Courage Inside

Sometimes the greatest challenge for a singer is taking the leap into making a debut album. The exposure opens them up to receive public scrutiny and global adulation. For the artist, it is always impossible to predict how the public will react. Luckily for singer-songwriter Kelley Suttenfield, she has the vocal chops to attract hordes of people, the charisma to make a lasting impression on their minds, and a passionate delivery that can penetrate their hearts. Suttenfield’s mix of intimate jazz and classic smooth swing is striking as she demonstrates her multi-faceted vocalese on her debut album Where Is Love? The choice to make the recording was a natural decision as she expresses, “The need to release a CD at this time was borne out of several things. For starters people had been asking one for quite awhile and I was running out of things to tell them. But also, there was a personal need to document what I was doing musically as well as to experience the kind of growth and development that recording a project brings. I learned a lot from the process, and I continue to learn more and more each day.” The tracks chosen for the album include many tunes which were personal favorites for Suttenfield. “The song selection,” she exposes, “was mostly my choice, derived from tunes played in gigs, or tunes I wished I could do with a full band. However, I did solicit some opinions on narrowing down the scope a bit. Hedging my bets, I started out with a plan to record 14-16 songs with 12-14 as an end result, and that’s exactly what happened. The final CD has 12 songs in total. The others might surface as ‘lost tracks’ one day, or not!” One of her favorite jazz tunes, “Nature Boy” by Eden Abbez, proved to showcase Suttenfield’s gorgeous vocalese. She indicates, “The development of this song began with a specific image in mind, and I did have some personal experiences that informed its delivery. But I’d also have to acknowledge that the arrangement played a big role in the ‘story‘. I decided early on that this song required special treatment, if I was going to have something special to say. And it was while studying Carnatic, [that is] South Indian vocal music with Shobana Raghavan that I started to transpose those vocal patterns onto the melody.” She assesses, “Shobana helped me to connect my ideas in an original, yet, not inauthentic way. Another source of inspiration was the music itself that unfolded in the moment. This is one song that entered rehearsal ‘uncooked‘, but emerged as a collaborative, rapturous fusion in the studio. And finally, the refrain of the song is simple yet powerful, and continues to be a source of personal inspiration,“ as she cites, “’The greatest thing you’ll ever learn is just to love, and be loved in return‘. May we all be so fortunate as to experience its true meaning once in a lifetime.” Another favorite tune of hers, “Charade” by Henri Mancini, was a benchmark moment on the album. She admits, “’Charade’ is one of those films I could watch over and over. I always loved the look and feel of the Technicolor productions of the ‘60s and was fascinated watching Audrey Hepburn onscreen. For me, it represents a special time in history, as well as in my own development, both tinged with nostalgia and wonder. The message,” she perceives is, “bittersweet. Composed by Mancini, the theme is timeless and permanently etched in memory. The words, I never really knew, but was delighted to discover that they are still relevant today. I decided to put my own stamp on it by changing the meter to 5, and adding the motifs at the beginning and end. It was one of those things that just came together very quickly. I’ve noticed that the ones drawn from my childhood experiences often do.” Adhering to the principle that if you don’t like your work, no one else will either, Suttenfield made choices that she liked for the recording including her decision to co-produce the record with esteemed singer-songwriter Andrea Wolper whom she concedes, “I never could have achieved this result without Andrea’s involvement. Andrea is a talented singer, composer, teacher, and recording artist. I identified with her sound from the first time I saw her perform, and have been a fan ever since. So in that respect, I think it helped tremendously that we happened to be on the same page about a lot of the choices to be made.” “However,” she stipulates, “vital to this project was her recommendation of Katherine Miller as recording engineer. For other challenging decisions, she helped create a vision for some things that I just could not see, or perhaps was not ready to see. And beyond that end, she was extremely generous and gracious with her time and of her self. I would love to work with her again in any regard, if the opportunity arises.” For the recording of Where Is Love?, Suttenfield called upon a talented cast of musicians which comprised of pianist Michael Cabe, electric guitarist Jesse Lewis, acoustic guitarist Tony Romano, bassist Matt Aronoff, and drummer Brian Adler. It is a cast that she is very proud of to have on her first outing as she praises, “They are all super-talented musicians that I’ve been fortunate to have worked with over the past few years. Much of the music on the CD came out of trying out ideas on gigs with them. I have known Matt Aronoff [on bass] the longest, and he introduced me early on to Michael Cabe [on piano] and later to Brian Adler [on drums]. Jesse Lewis [on electric guitar] was also well-known in those circles, and he soon came on board, followed by Tony Romano [on acoustic guitar], who perfectly completes the ensemble. They all have their own music projects going, and I encourage folks to check them out!” As for going on tour to support the release, she furnishes, “There is a plan in the works for a tour next year, but its much too early to comment. I’ll be sure to let folks know, and they can always check the website for updates. I have to say I’m looking forward to it. Recording is one form of the art, but performing live is transportive. When I’m with the band, and I’m really ‘in the music‘, I reach a place that is not attainable by any other means. If I can share that with others, it’s been a good day.” Suttenfield is no stranger to singing live. She recalls, “From childhood, I was always singing in group settings such as choirs, musical theatre productions, and I was often a featured soloist. I toyed with the idea of undergraduate studies in music, but priorities were different at that time.” She comments, “It would be hard to pinpoint that at any identifiable age,” when she began singing. “I do have recollections of singing in church at a very young age. My family encouraged another musical pursuit instead. When I was six, I began classical piano training, and did quite well at that level. However, devoting oneself to an instrument can be quite isolating and, as I matured, I gravitated towards more communal experiences such as musical theatre and group vocal performance. But it wasn’t until I moved to New York City that I ‘rediscovered’ singing as a way to reconnect with myself.” She remarks, “I can’t say that I took any private voice lessons until I was an adult living in New York City,” and outlines, “I have worked as a background vocalist, and I love to collaborate with other singers, but mostly it’s been just me, presenting the music. I’m grateful for so many things, but particularly for everyone’s patience and support. And that continues to this day.” She discerns that the biggest factor in prodding her into becoming a solo artist came from within herself. “I’d have to say the biggest challenge was keeping the faith. A project like this can be quite daunting and, for me, required a lot of preparation in order to feel like it was even possible. At some point, I just had to let that go and proceed as planned with the belief that everything would turn out alright in the end… a good metaphor to adopt in general.” Assisting her in this endeavor has been the Internet as she asserts, “I would not have connected with the label Rhombus Records so quickly had it not been for the Internet. It’s a huge player in the music industry today, and there is an expectation for artists to have a solid Web presence. Just about every music publication has an online version that is able to connect to the audience in a way that a print version cannot. Many reviewers have their own web blogs these days. Radio stations, Web-based or not, broadcast over the Internet. Music is purchased and delivered over the Internet. We have a dedicated jazz portal site in All About Jazz. Social networking sites such as Myspace and Facebook bring people together in a unique way. Twitter! The possibilities are endless, yet so is the competition. If you’re not fully utilizing the Web, you are at a disadvantage these days.” Each song on Where Is Love? Is like a sheet taken from Kelley Suttenfield’s childhood with an intimate delivery that unveils their significance to her, and allows her to display the many shades of her vocalese. Her leap into recording a debut album makes the best of her efforts, and is a veritable crowd pleaser from start to finish. Suttenfield shows more than promise as a jazz artist, she sets a standard for vocalists to attain and one that is gratifying for the artist as well as for fans. – Susan Frances, JazzReview.com


5.0 out of 5 stars – Kelley Suttenfield – Where Is Love? – Rhombus Records 2009

“Kelley Suttenfield has a very cool and sensual vocal style. The opening number ‘Sugar’ displays her talents to the max. She treats the lyrics as though she owns them. A swinging quality is apparent in this number as Suttenfield takes the circuitous journey from tender to strong ideation. ‘West Coast Blues’ is as hip as it gets, Suttenfield is on this tune like she means every word in the lyrics and that is the secret of getting a tune off the ground and into orbit. Add a bit of nice scatting and you have the makings of a very fine jazz number sung by a very fine jazz singer. ‘I Fall In Love Too Easily.’ This song will melt your heart and go straight to your soul. Suttenfield lays it on the line and leaves nothing to the imagination as she balladizes with the best of them.


A nice band and a superb singer make this recording a worthwhile addition to any jazzophiles collection. 5 stars.” – John Gilbert, eJazzNews.com


KELLEY SUTTENFIELD (Where Is Love?) Rhombus Records

The respect that Rhombus has always shown for straight-ahead jazz and cherished standards shows up in this session of 12 favorite songs which are interpreted by vocalist Kelley Suttenfield with a stellar ensemble. Backing her lyrical messages with affectionate solo work are double-bassist Matt Aronoff, drummer Brian Adler, pianist Michael Cabe, electric guitarist Jesse Lewis, and acoustic guitarist Tony Romano. The sweetness flows back and forth between singer and instrumentalist; however all of their adventures come complete with improvised clarity. Suttenfield prefers a quiet touch. Her “Charade” comes with intuitive whispers, her “Sugar” turns New York sexy, her “Ode to Billy Joe” reveals the homespun ease from her Virginia roots, and West Coast Blues allows singer and band to romp with laid-back comfort, adding high-spirited vocalese to the picture. Betty Carter’s “Open the Door” finds Suttenfield playing with pitch and having a grand time; it’s one of the album’s best tracks. The Beatles’ “And I Love Her” gives Suttenfield plenty of room to float, where she demonstrates her first love: taking the gentle road and convincing the audience it’s from the heart. “Nature Boy” rounds out the picture, with an exotic impression that sits on an old and favorite jazz standard and improves it through creative interplay. Suttenfield and her band give a superb performance with this session of familiar songs; the creative ideas shown here indicate a deep appreciation for what’s most important in modern jazz. – Jim Santella, L.A. Jazz Scene


Kelley Suttenfield, Where is Love? (Rhombus)

This debut CD by Virginia native Kelley Suttenfield, now based in the Big Apple, is a fine illumination for her charming voice – and of her eclectic musical tastes and influences. Straight-ahead jazz, The Beatles, classic country and country-pop tunes, a touch of Brazilia, with some Great American Songbook and movie soundtrack items thrown in for good measure. All get a strong jazz treatment from Suttenfield and quartet. Favorites: Her takes on Stanley Turrentine’s “Sugar,” “Twilight Time,” an uptempo revision of Bobby Gentry’s “Ode to Billy Joe,” a breezy take on Betty Carter’s classic “Open the Door” and Wes Montgomery’s “West Coast Blues.” Another treat: the dazzling electric guitar work of Jesse Lewis on five tracks, most notably “Sugar” and the very hip “West Coast Blues.” – Ken Frankling, Ken Frankling’s Jazz Notes


“Where Is Love? (Rhombus – 7089) is an adventurous first album from vocalist KELLEY SUTTENFIELD. She has an eclectic lineup of songs, and has the imagination to render them with unexpected approaches that are simultaneously surprising and engaging. Do you think of “Twilight Time” as a country tune, hear “I Fall in Love Too Easily” as a somber Brazilian flavored ballad, or imagine “Nature Boy” to be placed in a Indian raga setting? Well, Suttenfield does, and makes you accept the manner in which she reconceives these selections. This kind of creativity and originality is carried on throughout the disc. From the swinging Stanley Turrentine/Ted Daryll “Sugar” that kicks off the album to “My One and Only Love,” taken as a sprightly jazz waltz, Suttenfield keeps you completely involved and full of anticipation. The musicians backing her, Michael Cabe on piano and Fender Rhodes, Jesse Lewis on electric guitar, Tony Romano on acoustic guitar, Matt Aronoff on bass and Brian Adler on drums and percussion prove to be excellent partners for her. Her voice is mellow and on the dusky side, appealing and easy on the ears. There is usually a tendency to call a first album promising, but this young lady is a thoroughly mature performer who has set the bar rather high for her next recording.” – Joe Lang, Jersey Jazz


5.0 out of 5 stars “Smoky, Intensely Musical New Jazz Artist”

“Kelley Suttenfield is a jazz vocalist unafraid to breakdown a few barriers. Coming to this first CD – WHERE IS LOVE? – with a strong background in theater arts as well as classical piano and more, Kelley easily takes to the jazz field with an intense musicality that serves her well in every song in this collection. She feels right at home with the relaxed, effortless production of a dusky soprano that explores the lyrics of her songs, bringing more to the words than most stylists. This is mirrored in the excellent backup of musicians who provide unusually sophisticated backdrops for each song: Michael Cabe piano and Fender Rhodes, Jesse Lewis electric guitar, Tony Romano acoustic guitar, Matt Aronoff bass, and Brian Adler drums and tablas. Nowhere is their contribution more evident than on the extended version of ‘Nature Boy’. Another aspect of Kelley Suttenfield’s style that makes her unique (in addition to her phrasing and her exactly tune scat) is her decision to use the lyrics as written. Example, ‘And I love Her’, and ‘Open the Door’: she leaves the door open as to the receiver of her tender longings – female or male – and that is so warmly refreshing. But in addition to all of the aspects that make her an artist to notice on her first album, simply melt away with her duet with Michael Cabe’s piano in her soulful ‘I Fall in Love Too Easily.’ Or join her and her fellow musicians in a one of the best versions of ‘Ode to Billy Joe’ ever recorded. The quality of recording is superb with a clarity too rarely heard these days on soft jazz CDs. Kelley Suttenfield has arrived! Welcome to a hungry audience.” – Grady Harp, Amazon Top 10 Reviewer


Kelley Suttenfield – WHERE IS LOVE?

“This November 2009 release from Kelley is among the better releases from female jazz vocalists for ’09… her voice has a rich, full-throat projection that reaches right out & grabs you where your heart is. Excellent players with her keep the music behind her strong singing well jazzified… Michael Cabe does piano & Fender Rhodes, electric guitar by Jesse Lewis, acoustic guitar from Tony Romano, bass from Matt Aronoff and drums/Tablas by Brian Adler all work together to make for a most interesting listen, no doubt. The arrangements on “Ode To Billie Joe” breathe new life into that tune & clearly put it in the jazz realm… definitely Suttenfield’s own interpretation and style… I loved it! If you’re in the mood for something a bit more pensive, try Kelley’s rendition of “Charade”… some excellent guitar and bass behind her. My favorite piece, though, was the swingin’ “West Coast Blues”… you’ll think you’re right at the end of Route 66, in a smoky-blue jazz parlor, right in with all the rest of the late-nite hepkats, no doubt! Full of fun and high spirit, “Where Is Love” gets a HIGHLY RECOMMENDED from these ol’ ears. The “EQ” (energy quotient) rating is 4.92.” – Rotcod Zzaj, IMPROVIJAZZATION NATION


“Having a tough time writing about jazz these days, especially warming to anything I’m hearing — and not for lack of time, as most of the following took three spins before I settled on something…Kelley Suttenfield: Where Is Love? (2007 [2009], Rhombus): Standards singer, based in New York, probably young, debut album, backed by piano-guitar-bass-drums, nobody I’ve heard of. Has an exceptionally nice voice, measured delivery with nothing terribly idiosyncratic about it. I don’t care much for the song selection, with “And I Love Her” and “Ode to Billy Joe” the sore points, but she covered Veloso instead of Jobim, tried on a Betty Carter piece, sashayed into vocalese on “West Coast Blues,” and did well by “Nature Boy.” Most effective was “My One and Only Love” — probably because it was the simplest. B+” – Tom Hull, Jazz Prospecting


“The contemporary vocalist doing Jazz-Cabaret is in some ways at a crossroads. The Great American Songbook has been the preferred repertoire for such singers since the mid-‘50s on. Now these are classic songs, most of them, and they generally derive from musicals and pop endeavors from the late ‘20s through early ‘50s. Many of the vocal greats have sung these songs, and also the vocal not-so-greats. Today the field seems to be glutted with lesser talents, for whom the subtle phrasings of a Holiday or the pyrotechnics of Betty Carter may be models, but the vocal instruments they wield may not be up to the challenge. To be blunt, there are many vocalists out there that do not really merit the exposure they get. And the Great American Songbook has begun to be over exploited, like those 40 or so so-called “Classic Rock” tracks some radio stations play endlessly. Nevertheless the Jazz Vocal medium is popular among many who otherwise might not listen to Jazz. Overproduction, formula, and stereotypical performances are the result. Into this situation arrives another newcomer, Kelley Suttenfield, and her debut “Where Is Love” (Rhombus). She is not at all typical of the overproduction we endure. First of all, she is dead-on musical, with a pure but slightly smokey lower register and a bell-like upper. She varies her delivery in ways that sound natural and unforced. There are no self-consciously mannerist attempts to over-interpret the song materials. That is most refreshing. Her band is very solid, with nice solos from Jessie Lewis on the electric guitar or Tony Romano on acoustic, and some good key work from Michael Cabe. Then there’s her repertoire. It has some of the Great American Songbook classics like “I Fall in Love Too Easily” but also some Jazz associated numbers like Stanley Turrentine’s “Sugar,” Wes Montgomery’s “West Coast Blues” and an Indian tinged “Nature Boy.” She also is not afraid to tackle newer standards like “Charade” and the title song, “Where is Love” from the musical “Oliver.” Arrangements are well thought-out and help rejuvenate the material. Kelley Suttenfield has a most pleasant, unforced artistry that makes this record a very rewarding listen. May she be well-received!” – Grego Applegate Edwards, GapplegateMusic.com


Music Review: Kelley Suttenfield – Where Is Love?

“I would think that an artist would encounter a lot of obstacles in generating a debut album. First of all, they’re almost certainly not well-known, so even getting the album made is an accomplishment. But even beyond that, they still have to get the album exposed to music fans, who will hopefully find that the artist has something to offer. Of course, that part of the process might have become a little easier than it once was, given the prevalence of web-based reviews (like this one) and the ease of listening to clips by clicking on an album link (like the one at the bottom). But enough about the process — let’s talk about the artist. Jazz vocalist Kelley Suttenfield is certainly not a familiar name to most music fans, but her debut album, Where Is Love?, now out on the Rhombus label, is an intriguing effort. She’s a talented pianist with a classical education, but she has always enjoyed singing too, and it was as a jazz vocalist that her life as a professional really began. Based in New York, she has continued to study and hone her craft while making regular appearances in a number of venues, including radio, TV, and clubs. For her debut album, she’s picked an eclectic mix of a dozen tunes, with some jazz standards, a few reworked pop classics, and a couple of real surprises. Among the latter I was probably most intrigued by her inclusion of Bobbie Gentry’s country classic, “Ode To Billy Joe.” It takes some real chutzpah to tackle a song that’s nailed into the consciousness of a whole generation like a rusty thermometer on a barn door, but Suttenfield does a good job with it. Her smokey voice with a bit of added twang fits perfectly into the mood of the song, although I was less comfortable with the instrumentation behind her. I understand that the arrangement was intended to introduce a jazz/funk element into the song, but it felt like too big a leap for me. The backing group — a solid jazz quintet — was better utilized on tracks like the Styne/Cahn standard, “I Fall In Love Too Easily,” and Mancinis’s “Charade,” both of which also allow Suttenfield to show a softer, almost playful side with her expressive voice. In direct contrast was her fast and swinging interpretation of a pure jazz delight, Wes Montgomery’s “West Coast Blues.” It was probably my favorite here, but other good listens included the Beatles’ “And I Love Her,” and the Latin-flavored “Coração Vagabundo,” both helping add to a display of a vocal talent with many facets. Overall, a nice debut for Kelley Suttenfield, one that’s well worth consideration by any jazz fan.” – “Big Geez,” Blogcritics Music


REVIEW: Kelley Suttenfield’s “Where Is Love?”

“Schnazzing it up is what jazz singers love to do, whether it’s for their own music or for the songs they choose to cover. Kelley Suttenfield is a schnazzer but a good schnazzer, and what I mean is she likes to cuddle the songs with her own groove, but still being subtle enough to where she doesn’t take it overboard into loon land. Where Is Love? (Rhombus) is an album by someone who loves to sing, loves the song she sings, and has the willingness to share her talents with the world. The songs are well chosen, with songs like Eden Ahbez’s “Nature Boy”, Bobbie Gentry’s “Ode To Billy Joe”, and The Beatles‘ “And I Love Her” being a part of the album’s repertoire. Her take of “Twilight Time”, made famous by The Platters, may be the song that takes her out of jazz circles and into a broader audience, as it has a touch that could uplift her to bigger levels of success. That’s not to say the other material is less worthy, but “Twilight Time” is an R&B and rock’n’roll standard that she brings into her own scope, and it’s a perfect marriage of someone with a soothing voice and sentiment. The bond is… I wanted to say incredible but a word like that tends to bring expectations. I say just listen and tell me you don’t hear the perfect marriage of something effectively working.” – John Book, This is Book’s Music


Kelley Suttenfield – Where Is Love (Rhombus), Released – November 3, 2009

“Mellow, warm and inviting, Kelley Suttenfield’s “Where Is Love” is an outstanding debut from this New York-based singer. It’s an eclectic mix of selections on this offering – from a funky “Ode to Billy Joe,” through an Indian (Eastern) rendition of the jazz classic “Nature Boy,” to a very standard rendition of Mancini/Mercer’s “Charade.” Worth mentioning is the backing quintet – especially the guitar work of Jesse Lewis, who I swore was playing a sitar alongside a recorded tamboura. And while I might have preferred a suite of songs that hangs together a little more cohesively, there’s really not a clunker in the bunch. Ms. Suttenfield demonstrates not only great range in her vocal stylings, but also in the emotional buttons to hit in order to make all these varied pieces work. Ms. Suttenfield is worth watching, and decidedly worth listening to. This first recording from her is highly recommended.” – Doug Boynton, girlsingers.org


Kelley Suttenfield – Where Is Love?

“O’s Notes: Kelley has a soft voice that reminds us of good ole southern charm on tunes like “Twilight Time”. We enjoyed “Open the Door” and “And I Love Her”, with a strong piano solo from Michael Cabe. We sang along on “Ode to Billy Joe”. “Coração Vagabundo” gave is a taste of Portuguese [Spanish] lyrics before the East Indian inspired cover of “Nature Boy”. Suttenfield put her soft airy voice through the paces on Where Is Love? answering the question a dozen times in many ways.” – D. Oscar Groomes, O’s Place Jazz Magazine


Kelley Suttenfield: Where Is Love? (translated from Hungarian)

The young American jazz singer lady, Kelley Suttenfield a true classic album came in less than a month ago, performers elsőlemezes camp. Album is called “classical” because the traditional recipe that made. Which means that the repertoire consists of well-known melódiákból. Suttenfield not miss a Starmakers műsorból, without the experience from the studio. In fact, the record was part of the piano as well as acting. The selection of a high standard repertoire of popular works, follow each other, inter alia, as the Sugar (Stanley Turrentine / Ted Daryll), the title track “Where Is Love? (Lionel Bart), az And I Love Her (John Lennon / Paul McCartney), a Caracao Vagabundo (Caetano Veloso), a Nature Boy (Eden Ahbez), a West Coast Blues (Wes Montgomery / Granville A. Burland) és az I Fall in Love Too Easily (Jule Styne / Sammy Cahn). The singer is the first production of a friendly atmosphere, minutes from the scope of magic. The evergreens are sometimes completely reinterpreted easy listening come alive to us in a pleasant, though the sight of cigar smoke floating or locale (which may be in New York or even the next street), where a young lady to the stage and in love, singing and all kinds of feelings. Makes this an incredible lightness, deep beleéléssel. The repertoire specially like number two in the redefinition. One of them is a little entertained Lennon-McCartney ballad-style tunes in the “And I Love Her. The other was the Nature Boy, which is a quasi-Indian raga as tone. And new to the Indian instrument the sitar in the guitar playing. Of course, this number is a credible instrument to eastern sounds, on the board. It was a very interesting result of the kísérletezésből. If you love Nora Jones, Diana Krall and others from areas cultivated by the music, it certainly will like Kelley Suttenfield debut productions as well. Personally, I am confident that the singer will not disappear after the first disc süllyesztőben … With: Kelley Suttenfield / vocals, Michael Cabe / piano, Fender Rhodes, Jesse Lewis / e-guitar, Tony Romano / acoustic guitar, Matt Aronoff / bass, Brian Adler / drums and tabla. Értékelés / Rating Rating / Rating Külső megjelenés (art and design) 10/7 Appearance (art and design) 10 / 7  Belső (zenei) tartalom: 10/8  Internal (music) content: 10 / 8  Előadás (performance): 10/8 Performance (performance): 10 / 8 Hangzás (sound fidelity): 10/9 Sound (sound fidelity): 10 / 9 – Mihály Czékus, Hi-Fi Piac Portál


Where Is Love? Kelley Suttenfield, vocals.

“We may be in a recession, but there are plenty of female singers to keep everyone happy. Kelley Suttenfield brings a sweetness and sincerity to a dozen most familiar melodies including “Charade,” “West Coast Blues” and “My One and Only Love.” Of less interest were pop throwaways like “And I Love Her” and “Ode to Billy Joe.” On the other hand, the inclusion of Betty Carter’s obscure “Open the Door” was a welcome surprise. Reminiscent just a bit of Susannah McCorkle, Suttenfield eases her way into some vocals which will get your attention.” – George Fendel, Jazz Society of Oregon



“More of a sassy jazz vocalist than a cabaret act even if her set list leans toward a pomo cabaret act, Suttenfield is a youngster trying to latch on to an old tradition and put her stamp on things along the way. Not for the moldy fig ears looking for new jazz vocal, she’s here for here and now hipsters that need to go somewhere to show off their stupid sideways hat. Fun, bouncy stuff that can easily be appreciated by neo sophisticates even more than hipsters trying to keep up.” – Chris Spector, Editor, Midwest Record


“Kelley Suttenfield and her gang nail their flight of fancy with powerful attention to earthy modernism.” – John Shelton Ivany, Editor, Top 21, USA