indie jazz
EP Review: Deanna Devore – half and half
Chicago and Toronto based Deanna Devore is not only a singer and a songwriter but also a producer and multi-instrumentalist. She showcases her talent on the EP half and half, which she self-produced in a Toronto home studio and played all of the instruments. Half of the seven tracks on the EP reveals her downtempo electronic side and the other half of the album spotlights her acoustic singer-songwriter style.
Devore writes her songs keeping in mind what the outcome and effect the music will have on the listener. Her songwriting inspiration comes from a sensory position where particular melodies or chords evoke an emotion or feeling. She reveals that she digs into the darkness and light of life and love when it comes to lyrics.
Devore has also successfully performed at local, regional and national sold-out festivals such as NXNE, 80/35, Summerfest, and CMJ. She has also opened for electronic masterminds Bonobo, jazz/pop heavyweight Jamie Cullum, SG Lewis, Lapalux, and Kat Edmonson, as well as fellow Canadian artists Basia Bulat, Calvin Love, and Juno Award-winning Lights.
Devore would like to encourage other female artists to take charge of their music. “I’d love to inspire other songwriters and another female multi-instrumentalist/
half and half is a collection of captivating soundscapes with velvety vocals, soothing melodies, and authentic lyricism.
Seven Eight
The first track that starts off the EP is “Seven Eight” which revisits the intense feelings from the start and finish of a relationship that never quite took off.
The brief intro is a slow, bright blend of synth and light percussion that immediately taps your attention. But then the soundscape downshifts and you can feel it slip into a heavier melody right before the first verse. Devore’s rich vocals take center stage laying out the lyrics in a clipped emphasis. You can hear the pensiveness in her voice as she recalls the beginning of a relationship. The tension slightly builds with an elongated note at the end of the verse and rises dramatically into the chorus.
The chorus shifts to uptempo and you feel like you’re in a whirling in a glass case of emotions. Devore’s bright vocals float above the melody beautifully without rushing to match it. She paints lyrically the feelings of a relationship that never really got going and having to relinquish it.
Coming out of the chorus and into the second verse, Devore tapers off her vocals softly and you can feel yourself drop back into the previous unharried melody. A mellow synth and bright percussion solo ensue, washing over you like a wave of calm. Devore’s vocals with an underlying melancholy soak up the verse as she questions what happened to the relationship but is perhaps comforted by what she once had.
The last chorus has a surprise twist from the previous two lyrically. She wonders now not about what was lost but at what cost came this relationship that headed nowhere. Devore laments how these thoughts haunt her and stay with her after previously believing they held her up so she could fight on through. The track finishes off by coming full circle back to the soothing almost meditative synth and percussion solo from the beginning.
Effortlessly
The track “Effortlessly” is a standout song that demonstrates how a relationship that began so effortlessly can end the same way when you feel your lover has a change of heart.
The deep bassline punctuated with bright keys emulates an R&B vibe as it opens the song. Devore’s velvety vocals come right in with the first verse, holding your attention as her voice glides over the lush soundscape. There’s an underlying sadness in her voice you can sense as she realizes her lover’s interest is no longer there.
At the end of the verse, the song abruptly stops for a second and the melody changes upon entering into the chorus. There is no tension to release but it does become brighter, punctuated with subtle finger snaps. This mirrors the transition heard in Devore’s emotive vocals as she goes from being previously melancholy to reminiscing about the effortless attraction. But then she pivots and shows that her lover is obviously having second thoughts.
This emotional slide continues into the next verse as Devore sullenly holds out hope. But in the end, she sees the signs are there as her lover has broken their promises and the relationship, like her lover, are gone. Then she heads back into the chorus followed by a synth/keyboard/percussion solo with Devore adding a few beautiful vocalizations.
Then it’s back to the chorus and straight into the final verse. Here, Devore showcases once again her silky vocals as she tells her lover that they’ll never know the truth. She plays up the word “truth” with gentle up and down emphasis and cleverly ends with her repeats of the words “never know/never know/no” which gives you the feeling she is taunting her lover.
A Cause
“A Cause” is a standout track that examines looking to the past to find a cause for something when there is none.
The intro has a melody that mimics your heartbeat with a robust bassline and warm electro synth. Entering quietly is Devore’s velvety textured vocals floating above the mesmerizing soundscape, that will capture you from the start. In the first verse, you can hear the deep reflection in her voice as she examines time gone past.
Heading into the chorus, there is no vocal release of anticipation or any stratospheric vocals. Instead, you can feel Devore’s vocals shift emotionally, mirroring the warm melody, as they take on a slightly brighter, determined tone when she declares she’ll find the cause she’s been searching for.
Exiting the chorus you are carried away into the flowing synth and pulsing bass solo. At the end of the solo, going into the next verse, you can feel the bassline shift its intensity as it recedes to the background. The synth melody ebbs and flows effortlessly, punctuated with delicate finger snaps on the downbeat.
The next verse lyrically feels cryptic and vocally ethereal as she pretends everything is fine as she reaches back into the past for answers. Devore reinforces this feeling with a firm emphasis on each word like a stepping stone while beautifully elongating some words. This vocal style continues with the last verse after another ride along with the chorus.
Next, there is a warm synth and heavy bassline intermission which then melds into the last chorus. Then it appears again but as an unhurried solo that gently fades away to end the track.
Breathing Room
The acoustic track “Breathing Room” is a captivating song about giving your heart both space and time to heal.
A quiet but upbeat acoustic guitar melody taps you briefly on the shoulder as the intro. The first verse is short in words but long on visuals, broken in half by beautiful guitar strumming. Devore’s vocals envelop the sadness as she chronicles the estrangement she feels with a broken heart. From here, she glides into the lyrically two sentence chorus where you step into a different world.
In the chorus, everything morphs into a mesmerizing soundscape. Devore’s deep, honey-dipped vocals send you off into a dream-like state of mind. Calmness and genuine warmth exude in her delivery as she advises to “give your heart some breathing room”. The acoustic guitar solo following the chorus and in between verses brilliantly creates this feeling.
In the last verse, Devore lightens up her vocals lined with frustration when dealing with the person or situation that has broken your heart. This is carried into the second line of the chorus when the lyrics point to self-blame and assumption. But she rallies you right back in the next verse.
After the second repeat of the chorus, there is a somber instrumental. Then Devore’s haunting vocals come back for one last refrain. The final minutes of the song circle back to the guitar intro ending with a gentle but defining last strum.
When I Go Home
The last track on the EP, “When I Go Home”, encapsulates the warm welcome that you experience when you return home.
The song’s intro, a slow pulsating bassline overlaying a synth, melds softly into Devore’s angelic voice. Her vocals feel like they envelop you as they blend in with the comforting soundscape. You’re carried gently along with Devore’s beautiful delivery of the lyrics. She creates a sensation of the warmth you experience when returning home after being away for a long time.
This atmosphere is wonderfully carried further with the mini solo within the first verse. There is no tension leading up to the chorus, no detection of a change melodically up ahead. It is in the chorus where Devore’s vocals lift up to a slightly higher reach hinting at an underlying strength waiting in the wings.
The lyrics are a bit cryptic but they mirror the ambiance Devore vocally creates. They seem to describe the solace of being home where you feel comforted, rejuvenated, and protected, whether that’s with people or the home itself.
The song heads into a haunting solo after the last verse. The wind sound emanating from the synth sweeps you up and quickly back down. The synth’s elongated notes create a relaxing endless loop. Devore breaks in with the last chorus and then the song ends with a lovely spotlighted synth.
Fuels, In A Way
Rounding out the EP are the tracks “Fuels” and “In A Way”. The laid-back track “Fuels” explores how you reflect over past events looking for a reason to make sense of everything. The buoyant acoustic track “In A Way” laments the realization you can be with someone but feel alone.
Highly Recommended. Deanna Devore has a gift for writing songs that lure you in with intriguing soundscapes and authentic lyrics. Her captivating vocals stand out for their soothing texture that doesn’t need to reach soaring heights. half and half is a listening experience you will want to add to your playlist.
Buy/Download half and half on all major platforms worldwide including iTunes, Apple Music, Google Play, and Amazon
Stream on Spotify, Soundcloud, and other platforms.
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Jazz Artist Fiona Ross Set to Release Her Much Anticipated Album ‘Fierce and Non-Compliant’
‘Her talents are simply extraordinary’
Kind of Jazz
The much anticipated new album from Fiona Ross ‘Fierce and Non-Compliant’ will be released April 18, 2019, on Therapy Records.
Fiona has become known for creating her own contemporary jazz sound incorporating fast-paced Latin Jazz, vintage Jazz club, a little neo-soul along with heart-wrenching ballads that demonstrate that ‘Her style is poetic and the messages ooze with Millennial angst’ Jazz weekly. She came to the world’s attention as ‘the artist that gave Ed Sheeran his ‘first push’ Daily Express, but has very quickly established herself as an artist in her own right and has received incredible reviews across the globe.
Fiona’s new album brings an incredible line up of special guests. As a Jazz journalist, she has interviewed some incredible people (including Maxine Gordon, Steve Gadd, Dee Dee Bridgewater, Terri Lynne Carrington, Kyle Eastwood) and ‘I wanted to include some people on the album that have really inspired me as a person and as an artist. I was truly blown away that they said yes’
Maxine Gordon, renowned author, educator, Jazz advocate – and wife of Dexter Gordon – has written the sleeve notes.
Latin Grammy-nominated and world-renowned bassist Snow Owl is a special guest on two tracks. Having played with artists such as Anotonio Sanchez, Hans Zimmer, and Elton John and continually referred to in many bass publications as one the most influential bassists of all times, his playing on this album is mind-blowing. Fi explains ‘We recorded two songs in a castle, in Vienna. The same castle Snow Owl recorded his album ‘The Blue Road’ in. No real rehearsals, live takes. It was an overwhelming experience that I will never forget’ These tracks stand alone on the album as being recorded, mixed and mastered by Snow Owl himself.
Adam Cooper ‘the sexiest man in dance’, award-winning dancer, choreographer, and director, sings a duet, returning to their school days when Fiona and Adam use to sneak out of class, break into a rehearsal room and sing Gershwin songs together.
Other guests include Kim Cypher, one of the UK’s most exciting female saxophonists, ‘Exciting stuff, Clare Teal, BBC Radio 2’ is a guest on one track. Blues guitarist, Marco Piccioni ‘A force to be reckoned with, Evening Standard’ is another guest.
Artwork for the album features work created by Chris Cunningham.
The album is an eclectic mix of songs that all sit under the heading of Jazz. From the big band feel of the title track, to the haunting, freer ballads, to some Latin and funk – something for everyone. Fiona has indeed created her own contemporary Jazz sound that appeals to a wide audience.
Written, arranged and produced by Fiona, she says that this album ‘has been a huge challenge on many levels, and I have reached into places I have just not been before. The ‘Fierce’ is coming from many different angles. It has been emotional!’. Her new album is creating a significant buzz prior to release and is indeed proving that Fierce and Non-Compliant is the perfect title.
- Fierce and Non-Compliant
- For My Dad (live vocal take in a stairwell)
- Woke Up This Morning So I Can’t Complain
- Be On My Side
- I Followed My Heart (with Adam Cooper Vocals and Kim Cypher Sax)
- Don’t Say (with Snow Owl, vocals recorded live in a castle)
- Feel (live vocal take in a stairwell)
- Use The Right Words
- Just Tell Me When
- I Don’t Want It (with Snow Owl, recorded live in a castle)
- Socialising With Misery (with Marco Piccioni on Guitar)
- I Thought I Saw Your Heart
- Doing My Thing
Album Personnel:
All songs written, arranged and produced by Fiona Ross
Fiona Ross (Vocals and keyboards)
Snow Owl (Bass on I Don’t Want It and Don’t Say)
Kim Cypher (Sax on ‘I Followed My Heart’)
Adam Cooper (Vocals on ‘I Followed My Heart’)
Marco Piccioni (Guitar on ‘Socialising with Misery’)
Gibbi Bettini (Guitar)
Derek Daley (Bass)
Marley Drummond (Drums)
Loren Hignell (Saxophones)
Adam Brown (Trumpet)
Adam Hayes (Percussion)
Warren Woodcraft (Percussion and vocals at the end of ‘Doing My Thing’) Ashaine White (Backing vocals on ‘Doing My Thing’)
Engineered and recorded at Saige Studio by Gibbi Bettini
Mixed at Highfield Studio by Warren Woodcraft and Elliot Richardson Mastered by Nick Watson at Fluid Mastering
‘Don’t Say’ Recorded, mixed and mastered by Snow Owl
‘I Don’t Want It’ Recorded, mixed and mastered by Snow Owl
Pre-order a limited edition signed CD at http://www.fionaross.co.uk/