Darden Purcell, Love’s Got Me In A Lazy Mood (Origin Records)
- Scott Yanow, jazz journalist/historian and author of 12 books including The Jazz Singers
Darden Purcell, a jazz singer and influential educator who is based in Washington D.C., has a very appealing voice that at times hints at Irene Kral. She puts plenty of understated feeling into the lyrics she interprets, is a subtle yet never predictable improviser, and seems to always place the perfect note in the most effective spot, even when simply singing a melody.
On her latest recording, Love’s Got Me In A Lazy Mood, she is joined by her husband the superior bop-based guitarist Shawn Purcell (who also contributed the arrangements), pianist Todd Simon, bassist Jeff Reed, drummer Todd Harrison and, on six of the 11 selections, vibraphonist Joe Locke. All but “Chatterbox” are standards but, due to the arrangements and the consistently beautiful singing, they sound fresh and new on this release.
“Willow Weep For Me” begins the enjoyable set with some friendly singing, scatting in unison with vibes and guitar, and fine solos from Locke and the guitarist. “Love’s Got Me In A Lazy Mood” is a vocalized version of tenor-saxophonist Eddie Miller’s “Lazy Mood” which is certainly not performed too often. Ms. Purcell’s singing of Johnny Mercer’s lyrics is quite infectious (particularly her second vocal), handling the unusual melody effortlessly and with her own brand of soul.
“Come Back To Me” is given a strong Latin tinge and a boppish passage. After an out-of-tempo interpretation of the verse for “It’s A Most Unusual Day,” the singer and her group swing; her scatting along with the guitar is a bonus. “I Concentrate On You” features an arrangement that has Ms. Purcell singing over the “Poinciana” bass and drum pattern made famous on Ahmad Jamal’s recording. Her vocal on “A Cottage for Sale” is wistful and a bit heartbreaking, a contrast to the joy of “Estrada Branca (This Happy Madness”) which she sings in both Portuguese and English.
On “Chatterbox,” a beboppish blues a little reminiscent of Annie Ross’ “Twisted,” Darden Purcell swings hard during a performance that also includes fine vibes, guitar and bass solos. She displays a remarkably clear voice on “Estate” over a drum pattern, and sounds comfortable during a waltz version of “Taking A Chance On Love.” The album concludes with some superb ballad singing on “You’ve Changed.”
Any listeners interested in hearing a world-class interpreter of lyrics who swings at every tempo should be aware of Darden Purcell. Her new recording is arguably her most rewarding so far.
WHAT PEOPLE ARE SAYING...
"Darden Purcell’s latest project “Love’s Got Me in a lazy Mood” is a rich and swinging affair, with powerful, impeccably performed arrangements that (IMHO) often evoke the memory of great arrangers like George Shearing and Marty Paich. Some serious musicianship from all the players. Darden has a lovely sense of ‘history’ in her sound - it’s clear she’s listened to all the greats, while giving these songs her own stamp. Music full of joy - a pleasure."
- Peter Eldridge, Vocalist, Pianist, Composer, Arranger and founding member of the New York Voices
"This accomplished jazz singer is the real deal - Darden’s warm, lyrical, and swinging vocals highlight the gorgeous top-notch arrangements on her latest offering - with lovely interplay throughout the album between veteran vibist Joe Locke and Darden’s husband, guitarist and arranger Shawn Purcell. A swinging class act that is not to be missed!"
- Jeanie Bryson, Jazz Vocalist and Telarc Recording Artist
"Darden Purcell's newest and 3rd musical offering showcases her clear and direct vocals with fresh arrangements by Shawn Purcell that feature the vibraphonist extraordinaire, Joe Locke! Some well known Great American Songbook tunes, Brazilian standards, and a few new, cleverly written lyrics by Darden!"
- Dena DeRose, Pianist and Vocalist, High Note Records Recording Artist and professor of Jazz Voice at KUG Jazz Institute at The University for Music and Performing Arts Graz
“From the swinging 9/8 treatment of Willow Weep for Me to the sultry/primitive vibe of Darden Purcell’s version of Bruno Martini’s classic, "Estate," the new recording by Darden Purcell is filled with musical twists and turns that leave the listener savoring each musical journey brought forth with each tune. I particularly enjoyed the guitar/vibes soli on "Taking a Chance On Love" combined with the extended 3/4 feel of Darden’s vocal. Also, I enjoyed Darden’s clever lyric-writing chops on "Chatterbox" along with her husband Shawn’s guitar work! Her Portuguese vocals on "Estrada Blanca" are another high point and both vibraphonist Joe Locke and Shawn Purcell on guitar provide a beautiful Brazilian groove for her to soar over both in Portuguese and English. All the instrumental soloists provide complimentary yet very individual statements on each track adding to the incredibly musical journey the entire recording takes the listener on! Bravo Darden!"
- Chip McNeill, Grammy Award-winning saxophonist and Chair of Jazz Performance, University of Illinois Urbana-Champaign
REVIEWS - Love's Got Me in a Lazy Mood
4 STAR Review by Geannine Reid
Darden Purcell's album Love's Got Me In A Lazy Mood (OA2 Records, 2023) shows her keen ear for the subtleties and nuances which define the West Coast cool jazz vocal sound. Purcell's album comprises eleven tracks which blend the laid-back, sophisticated rhythms and melodic inventiveness that characterize the style with beautiful singing and nimble playing.
Purcell is joined by an ensemble of musicians whose contributions are pivotal to the album's charm and success. On six tracks the ensemble features Joe Locke on vibraphone, whose nuanced textures and rhythmic sophistication add depth to each track. Shawn Purcell, who arranged all the songs, weaves intricate harmonies and melodies which complement and converse with Darden Purcell's vocals. Todd Simon's piano provides a supportive undercurrent, binding the ensemble's sound. The rhythmic foundation laid down by Jeff Reed on acoustic bass and Todd Harrison on drums is compelling, creating a rhythmic flow which allows each musician to flourish in the various feels and styles. The ensemble creates a cohesive, explorative, and resonant sound with an overall essence of West Coast cool jazz.
Purcell's vocal delivery is a journey through the emotional landscapes of each track. Her rendition of "A Cottage for Sale" is a highlight as she confidently conveys the song in a heartfelt narrative. "You've Changed" is another song in which she displays those qualities, matching the lyrics with the coloring of her tone and inflections. In the title track, "Love's Got Me in a Lazy Mood," Purcell uses the lyrics to explore love's complex, layered emotions through her vocal inflections. Her vocal delicacies hint at an undercurrent of both contentment and longing, a duality often explored in the introspective nature of West Coast cool jazz, where the focus is often on expression and mood.
In "Estrada Branca (This Happy Madness)," Purcell's switch between Portuguese and English adds a unique storytelling dimension. Her nuanced and deliberate phrasing engages in both linguistic settings, creating a creative and universal performance. "Estate" has a moody and dark arrangement. The laid-back phrasing of Purcell's vocals makes the song's story come alive. This ability to tell a story through subtle vocal inflections is reminiscent of the West Coast jazz ethos, where less is often more.
Shawn Purcell's original, "Chatterbox," is one of the album's many highlights. The song has an exciting approach to the vocal, guitar, piano, and vibes possibilities to create varying orchestrative dialogues. Purcell's voice engages with the ensemble as an instrument which happens to be singing lyrics. This interplay is done with a command of jazz rhythms and articulations. Purcell's personal touch comes through in her lyric choices and vocal expression. By choosing both aspects, Purcell can give a performance that distinctly displays her jazz articulation and rhythm with excellent lyric writing.
Throughout Love's Got Me In A Lazy Mood, Purcell comprehends jazz's expressive potential. Her vocal delivery is built upon solid technical skills, but her artistry is about weaving a melody with stories and emotions.
Darden Purcell, Love’s Got Me In A Lazy Mood Review
by Jeff Becker
Darden Purcell’s third album, Love’s Got Me In A Lazy Mood, is a remarkable set of music that shows her skill as a jazz vocalist and deep immersion in the genre’s rich traditions. The album encapsulates a journey through the Great American Songbook, with forays into Latin-influenced numbers and an original composition with lyrics, all rejuvenated by Purcell’s intimate and expressive vocal style.
In “Willow Weep for Me,” Purcell’s interpretation brings a bluesy nuance to the fore, showcasing her ability to blend vocal agility with emotional depth. The arrangement’s 9/8 rhythm, an unconventional choice, adds a fresh perspective to this standard, perfectly complementing Purcell’s dynamic vocal expression. The synergy between Joe Locke’s vibraphone and Shawn Purcell’s guitar creates a soundscape of the West Coast cool jazz era.
The title track, “Love’s Got Me in a Lazy Mood, ” highlights where Purcell’s voice dances gracefully through the complex angular melody, reminiscent of a 1950s horn player’s finesse. Her tone is consistently rounded, accentuated by crystal-clear diction and pitch control. This track underscores Purcell’s ability to inhabit a song fully, transforming it through her unique interpretive lens.
“A Cottage for Sale” is a poignant ballad that allows Purcell to shine as a true balladeer. Her phrasing is classic and emotive, delivering the lyrics with a sincerity that touches the heart while maintaining a swing that invigorates the soul. This performance reaffirms Purcell’s status as a versatile vocalist, equally adept at conveying the subtleties of a ballad as she is in more upbeat numbers.
“Estrada Branca (This Happy Madness)” shows Purcell’s versatility and expertise in Latin jazz. Singing in Portuguese, she navigates the complexities of the language with ease, her voice soaring over a beautifully executed bossa nova rhythm section of Jeff Reed’s bass and Todd Harrion’s drums. The transition to English in the latter part of the song is seamless, further highlighting her skill as a bilingual vocalist. The album also features the original composition “Chatterbox,” co-written with Shawn Purcell. This track is a vibrant nod to the hard bop era, with Darden’s original lyrics and Shawn’s melodies that capture the spirit of the style. The intricate composition by Shawn, coupled with Darden’s lyrical creativity, produces a piece steeped in jazz tradition.
In “Taking a Chance on Love,” Purcell showcases her rhythmic sophistication and playful phrasing. The harmonic interplay between the vibes and guitar harks back to the classic arrangements of jazz legends. Todd Simon’s tasteful piano playing adds to the timeless sound of the ensemble in the West Coast’s cool aesthetic.
Love’s Got Me In A Lazy Mood is a compelling blend of traditional and West Coast cool jazz elements. Purcell’s command of the vocal jazz idiom is exceptional. Her ability to convey a spectrum of emotions, from the wistful melancholy of ballads to the joyful exuberance of up-tempo bebop numbers, shows her range and depth as a vocalist. The album’s coherent theme of love, combined with Darden’s evident passion for singing and storytelling, makes it an enchanting listen. The arrangements by Shawn Purcell give each track a distinct character, contributing to the album’s cohesive and sophisticated sound. Love’s Got Me In A Lazy Mood is an outstanding collection of songs presented by an agile ensemble that unfolds a jazz narrative woven through timeless melodies, innovative arrangements, and the unmistakable voice of Darden Purcell.
Darden Purcell, Love’s Got Me in a Lazy Mood Review
"Spellbound in Jazz: The Multifaceted Artistry of Darden Purcell’s Love’s Got Me in a Lazy Mood"
by Sylvannia Garutch
Darden Purcell’s latest album, Love’s Got Me in a Lazy Mood, has been released through Origin Records. If you’re unfamiliar with Dr. Purcell, she’s a remarkable vocalist who blends different genres and styles. She has presented her work at international venues like the Institute for Jazz Research “Jazz Voices” conference in Graz, Austria. Additionally, she has performed in Sao Paulo, Brazil, courtesy of a Global Education grant from George Mason University. Dr. Purcell holds a Bachelor of Fine Arts in Vocal Jazz Performance from Virginia Tech and both a Master of Music and a Doctor of Musical Arts in Jazz Performance from the University of Illinois at Urbana-Champaign.
Her latest musical journey follows her previous albums, Easy Living and Where the Blue Begins. In Love’s Got Me in a Lazy Mood, Dr. Purcell transports us through the familiar terrains of classic jazz, serving both as a lead vocalist and an instrumentalist throughout the album’s eleven tracks. The album flows with a balance of jazz sounds infused with Latin influences and a touch of Hard-Bop nostalgia. Dr. Purcell’s clear diction showcases her linguistic versatility by singing in multiple languages, further drawing us into her legit world of jazz lines and hues.
What captivated me about Love’s Got Me in a Lazy Mood is its intricate narrative arc. It’s not just the virtuosity of each track; it’s how the songs collectively unfold, like chapters in a compelling novel, to form a cohesive sonic story, much like chapters in a novel, leading you down an inviting alley of sonic experiences. Dr. Purcell is joined by a talented ensemble: her husband, Shawn Purcell, who wrote all the arrangements and plays the guitar; pianist Todd Simon; Jeff Reed on bass; and Todd Harrison on drums. Vibraphonist Joe Locke adds the perfect finishing touch to this flowing album.
“Willow Weep for Me” breaks away from the usual rhythmic confines of traditional jazz standards; this arrangement delves into the fresh territories of a complex 9/8 time signature. The choice of a 9/8 groove acts as a smoky, bluesy quilt, with the ensemble providing a sonic backdrop for Dr Purcell’s warm and expressive vocals. Her voice emerges elegant as a lead vocal and as another instrument during a complex tutti tapestry with piano, vibes, and guitar. This musical choice envelops the listener in an atmosphere so bluesy and smoky, that it’s almost tactile. The poetic duel between Locke’s vibraphone and Shawn’s guitar adds layers of complexity.
Next, we sip the vintage-yet-fresh nectar of “Love’s Got Me in a Lazy Mood.” On the surface, it pays homage to classic jazz structures, yet it sparkles with modern elegance. The vibraphone, wielded masterfully by Joe Locke, adds a shimmer, making it feel like you’re savoring an age-old wine in a freshly minted glass. Dr. Purcell’s vocals nod to Peggy Lee—smooth, sultry, and oh-so-confident.
Finally, behold “Chatterbox,” a standout among standouts, penned by the Purcells. It isn’t just Darden’s vocal agility that captivates—it’s how she soars and dives through the bebop melody, landing each note with the finesse of a gymnast sticking the landing. The track feels like navigating a high-wire act above a crowd of seasoned jazz aficionados, and not a step is missed.
…and the list goes on. Whether she’s capturing the timeless charm of “Taking a Chance on Love” or diving into a Latin-based selection, “Estrada Branca (This Happy Madness),” Darden’s like a shape-shifter, seamlessly transitioning between different roles while her voice serves as the golden thread linking these hues of the jazz world.
For some of the ensemble highlights, check out “Taking a Chance on Love,” where Shawn and Locke both perform outstanding solos that are flowing and energetic. “A Cottage for Sale” displays Simon’s sensitive accompanying and Harrison’s superb ballad brush playing. “I Concentrate on You” is supported by Reed’s deep groove with a funky jazz bassline. Simon’s piano solo is also excellent on this track. Shawn’s arrangements are all highly creative and showcase Darden’s vocal range, multilingual abilities, her outstanding technical skills, and her warm, expressive vocal timbre.
In Love’s Got Me in a Lazy Mood, Darden Purcell offers an intoxicating blend of tradition and modernity, familiarity and surprise. The album pays homage to jazz titans like George Shearing, yet bursts with fresh nuances that make you feel as if you’re exploring new vistas of the jazz landscape. So, pour yourself a glass of something pleasing, dim the lights, and let this album whisk you away. The only mood it’ll get you in is a spellbound one.
Vocalist Darden Purcell blends historical reverence and modern sensibilities, showcasing her versatility on her third album as a leader, Love’s Got Me in a Lazy Mood.
Darden Purcell, a jazz vocalist based in Washington D.C. and the Director of Jazz Studies at George Mason University, is a dynamic soloist, having collaborated with top names in jazz, as well as symphony orchestras, big bands and small ensembles at both national and international concert halls and clubs. Her latest project, Love’s Got Me in a Lazy Mood, showcases her remarkable interpretive skills and versatility, as she passionately explores a diverse repertoire, encompassing Great American Songbook classics and Latin-influenced gems.
This swinging album, co-produced and arranged by esteemed guitarist Shawn Purcell, is her third as a leader. It also features the talents of vibraphonist Joe Locke, guitarist Shawn Purcell, bassist Jeff Reed and drummer Todd Harrison, weaving a rich musical tapestry. “Chatterbox,” the record’s sole original composition, was written by Darden and Shawn Purcell and is among the standouts of the program, as well as our Song of the Day. Blending contemporary flair with nods to the hard bop era, the piece intricately weaves melodies and complex rhythms, paying homage to jazz legends of the past while embracing a modern sensibility.
Darden Purcell: Love’s Got Me in a Lazy Mood Review
"Melodies of Love: Exploring Dr. Purcell’s Love’s Got Me in a Lazy Mood"
by Steven Miller
Hello, connoisseurs of intricate soundscapes and narratives told through melody and rhythm. It is splendid to delve into an artistic endeavor that presents itself as a veritable amalgamation of influences, techniques, and emotions. We find ourselves today discussing Dr. Darden Purcell’s latest offering, Love’s Got Me in a Lazy Mood, released under the Origin Records imprint on September 16, 2023. In this review, we’ll explore how Dr. Purcell and her ensemble have skillfully employed musical elements and lyrical themes to create an album that is a nod to jazz tradition and a fresh, modern take on the evergreen subject of love.
Before we dissect this auditory feast, a bit about Dr. Darden Purcell. She is an epitome of artistry and pedagogy in the realm of jazz, having held her own on stages with eminent musicians like Maria Schneider and Eric Alexander. Her professorial role at George Mason University as the Director of Jazz Studies, along with her ensemble’s accolades, further entrenches her authority in the genre. With this background in mind, we approach her latest record with the expectation of a harmonious blend of erudition and raw musical emotion.
The album, a mixture of Great American Songbook gems, Brazilian standards, and original compositions, displays Dr. Purcell’s versatility. While her husband, Shawn Purcell, serves as the album’s arranger and guitarist, the soundscape is further enriched by vibraphonist Joe Locke, pianist Todd Simon, bassist Jeff Reed, and drummer Todd Harrison.
Musically, the unconventional 9/8 time signature in “Willow Weep for Me” provides a fresh take on this classic, weaving a sense of wistfulness, as you observed. Lyrically, the original song revolves around the theme of heartbreak. The 9/8 treatment adds a new layer to this emotional terrain by infusing a jazz-derived complexity and ambiguity into a blues-inflected narrative. Dr. Purcell’s wordless performance of the written voice and guitar soli is a powerful dynamic amplifier that displays the instrumental quality to her vocal delivery. In doing so, she adds a modern tinge to a song grounded in the classic themes of love and loss.
“Estrada Branca (This Happy Madness)” encapsulates a blend of romanticism and escapism, crucial elements of Antonio Carlos Jobim’s original composition. Dr. Purcell maintains these themes in her lyrical interpretation, singing in both Portuguese and English to expand the song’s emotional reach. Musically, the Brazilian groove is a collective effort: Locke’s vibraphone and Shawn’s arrangement and guitar create a seamless foundation, while bassist Reed and drummer Harrison provide a gorgeously swaying bosa nova feel that Dr. Purcell’s elegant vocals soar over. This contributes to the song’s narrative of ‘happy madness’—a paradoxical blend of love’s irrationality and joy.
Thematically, “Chatterbox,” co-written by Darden and Shawn Purcell, provides an exciting detour from the romantic focus of other tracks. As an original piece, it provides a canvas for Dr. Purcell to explore themes of communication and social interactions in a jazzy, upbeat tempo. The spirit of hard bop serves as a historical backdrop, which blends modernity with a homage to the jazz greats. Instrumentally, the track shines through its complex rhythms and intricate melodies, mirroring the complexity of the theme.
“Taking a Chance on Love” offers a timeless look at the gamble that is love, a theme as old as time but continually relevant. The 3/4 feel gives an additional layer of uncertainty, capturing the rhythmic irregularities that often accompany emotional adventures. The harmonic interplay between vibes and guitar serves as a counterpoint to Dr. Purcell’s vocal lines, creating a multi-layered conversation between instruments and voice that encapsulates the risks and rewards of love.
The album as a whole exudes an aura of historical reverence and modern freshness. Beyond its technical virtuosity, the album holds the potential to leave an indelible mark on the contemporary vocal jazz landscape. It invites a broad audience—from seasoned jazz aficionados to those newly venturing into the genre—to appreciate the intricate interplay of rhythms, melodies, and themes. Dr. Purcell’s vocal delivery—warm, lyrical, and imbued with the swinging essence of the jazz era—works in perfect harmony with ensemble’s sophisticated sound. They together breathe life into Shawn Purcell’s arrangements, adding layers of nuance that only repeated listening can bring one to fully appreciate.
So, does Love’s Got Me in a Lazy Mood live up to the scholarly and musical pedigree of Dr. Darden Purcell? The answer is an unequivocal ‘yes’. It is a rich experience of jazz history, married with modern virtuosity and academic depth. It takes the listener on a lovely journey through time, space, and emotion, paying homage to the past while forging a path into the future.
In summary, Love’s Got Me in a Lazy Mood explores the manifold complexities of love, seen through the multifaceted lens of jazz. With each song, Dr. Darden Purcell and her ensemble breathe new life into classic themes, employing an array of musical elements—from unconventional time signatures to intricate harmonic arrangements—to infuse each track with fresh interpretations. Beyond its technical and thematic profundities, Love’s Got Me in a Lazy Mood strikes a chord at the emotional level. It invites the listener into an intimate headspace, making it a soul-stirring journey through the complexities of love as articulated by the universal language of jazz and Dr. Purcell’s vocal talents.
DARDEN PURCELL LOVE'S GOT ME IN A LAZY MOOD Review
Darden Purcell's album, “Love's Got Me In A Lazy Mood,” unfolds as a project that is a meticulous assembly of jazz artistry. The eleven tracks finely exhibit Purcell's mastery as a vocalist and the collaborative spirit that jazz embodies. With arrangements and an original by Shawn Purcell, they present a vocal jazz set that reflects jazz's past elegance while carving out a contemporary program in sound and texture.
“Love's Got Me In A Lazy Mood” is an album that captures the essence of vocal jazz's power as Darden's vocal contributions bring strong melody singing and her ability to use her voice as an instrument. Darden's agile voice serves as the guiding light through this journey, with a warm and commanding tone. Her ability to navigate the complexities of jazz singing, from the blues-infused narratives to the lyrical delicacies of the Great American Songbook, is delightful. Her interpretations of the melodies are grounded in the lineage of jazz, with a strong West Coast vibe, but all with a keen ear for precise jazz rhythms and articulations.
The album starts with "Willow Weep for Me," where Shawn's cleaver arrangement immediately sets a tone of rhythmic exploration. Joe Locke's vibraphone and Shawn's guitar both add texture and energy to the music, which is lyrical and forward-moving. Darden's vocal delivery on this track demonstrates her unique and organic jazz phrasing and emotive storytelling of the lyrics, capturing the listener's imagination and setting the stage for the album's narrative arc. In "Love's Got Me in a Lazy Mood," we are treated to Darden's vocal versatility as she imbues the song with a sense of effortless grace, while navigating its angular intervals with a deep understanding of jazz's expressive jargon.
The rendition of "A Cottage for Sale" is a moment to enjoy Darden's grace as a balladeer. Her breath control and emotive accents add to the song's narrative essence and melodic flow. The arrangement supports her every step, allowing the listener to fully immerse themselves in the storytelling as the harmonic support from Shawn's and Todd Simon's piano cradle every nuance.
"Estrada Branca (This Happy Madness)" stands out with Purcell's fluency in the Latin jazz genre. Her vocal agility, combined with the Brazilian groove laid down by Jeff Reed's bass and Todd Harrison's drums, creates an enchanting musical moment. The bilingual delivery adds layers of texture and depth, further showing Purcell's extraordinary range and sensitivity.
"Chatterbox," an original composition by Shawn with lyrics written by Darden, is a perfect balance of Darden acting as an instrumentalist and vocalist. The style of this vocalese has its spirit in the hard-bop tradition. Here, Darden's lyrical ingenuity shines, supported by the ability to sing these bop lines with a compelling 'horn-like' approach with clear diction, which is excellent. The track is a vibrant celebration of jazz's enduring vitality, with each musician bringing their unique voice to the collective conversation.
"Taking a Chance on Love" encapsulates the album's essence, blending the historical with the contemporary. The arrangement's nod to the iconic styles of George Shearing and Marty Paich, combined with Purcell's playful and sophisticated vocal interpretation, serves as a fitting culmination to this musical odyssey.
“Love's Got Me In A Lazy Mood” has a balance of vocal jazz tradition and innovative exploration, highlighting the evolving role of a vocalist within the genre. Darden Purcell's exceptional vocal artistry, combined with a symbiotic relationship with her ensemble, weaves a compelling narrative that honors and expands vocal jazz's boundaries. Through inventive arrangements and a carefully curated selection of songs, the album invites listeners to delve into vocal jazz's many textures and complexities, seamlessly integrating past and contemporary elements. “Love's Got Me In A Lazy Mood” propels the conversation of the role of a jazz vocalist, ensuring its relevance and vitality in the jazz canon.
UNIVERSITY OF ILLINOIS ALUMNI NEWS
Jazz Vocal Alumus Darden Purcell releases her third album on Origin/OA2 records
October 23, 2023
"Jazz Vocal Alumus Darden Purcell released her third album Love’s Got Me in a Lazy Mood on Origin/OA2 records."
Presently serving as the Director of Jazz Studies, Jazz Voice Instructor, and leader of the award-winning Mason Jazz Vocal Ensemble at George Mason University, Darden Purcell (DMA 2012; MM 2009) was recently released her third album, Love’s Got Me in a Lazy Mood on Origin/OA2 records, receiving outstanding reviews and nationwide airplay.
Drawing inspiration from Nancy Wilson and George Shearing’s “The Swingin’s Mutual,” Dr. Purcell and her co-producer, arranger, guitarist, and husband Shawn crafted a modern take on that quintessential 1960s sound. The album can now be purchased at OA2 Records and streamed on all your favorite platforms.
Dr. Purcell earned a Master of Music and a Doctor of Musical Arts in Jazz Performance at the University of Illinois at Urbana-Champaign, where she also served as faculty for Illinois Summer Youth Music. As a Washington D.C.-based jazz vocalist, she has performed with top jazz artists and ensembles at prestigious venues nationally and internationally, including The Kennedy Center, Blues Alley, and The Jazz Kitchen. She has also been invited to present and perform at various conferences and festivals, including the New York Voices Jazz Festival, Jazz Education Network conference, Jazz Voices conference in Graz, Austria and Projeto GURI in Sao Paulo, Brazil.
THE SYNOCOPATED TIMES - Exploring the World of Hot Jazz, Ragtime and Swing
by Dave Doyle (March 31, 2024)
Work has had me on the road a lot lately, so that new in-car MP3 player has been a lot of use. (Promoters, take note: please remember to send MP3s too, now my motor is CD playerless.) Some days the only thing between me and vehicular homicide is a rage-mitigating soundtrack, like that provided by Washington DC-based Darden Purcell’s very timely new release.
I can’t remember the last time I heard a record as cool as Love’s Got Me in a Lazy Mood—which is ideal for when inconsiderate road users get me darn hot. The eleven-track album is a smorgasbord of styles blending elements of straight-ahead, swinging, and Latin jazz, often within a single number. Trad purists should be pleased by how hard it swings, while those with broader tastes will appreciate the range of jazz styles incorporated.
This Pan-American-sounding production presents a variety of new takes on old standards: “Taking a Chance on Love” is now an exuberantly bouncing swing waltz, “Willow Weep for Me” is 1960s lounge jazz featuring scat singing, ice-cold vibraphone and several time signatures, “Come Back to Me” gets the bossa nova treatment, and “Love’s Got Me in a Lazy Mood” is so laid-back it’s horizontal—Johnny Mercer’s 1951 side sounds positively peppy, in comparison.
Purcell’s voice is what I would call straight up: served neat, on the rocks with no mixer. Her tone is clean, clear, always bang on pitch with no distracting gimmicks. Don’t get me wrong, I like a characterful voice too (the unashamedly Swedish Gunhild Carling comes to mind), but there’s something about the understated competence of Purcell’s singing style that just seems to fit this relaxed album so well.
It’s an approach reflected by her musician colleagues—Joe Locke on vibes, Shawn Purcell on guitar, Todd Simon on keys, Jeff Reed on bass, and Todd Harrison on drums—all of whom keep it low-key throughout most of the record. Each swaggers lazily on with a confidence which says: “Sure, I could go harder—but I just don’t feel the need to.” But then, as if to silence anyone who doubted their talents, each player really lets rip on one track or another.
For Reed, Locke, and the Purcells it’s “Chatterbox,” the album’s one original number, which is a hard-bopping vocalese à la Lambert, Hendricks, and Ross. Locke’s work on this finger-clicker is particularly impressive, with a rapid-fire vibes solo just before the three-minute mark which caused an involuntary attack of stank face in this listener. Harrison really shines on “Taking a Chance on Love,” providing a rhythmic backing thick with fills—and whipping up an absolute storm when his solo comes around. Simon is that ideal jazz pianist: filling out those middle frequencies with his ever-present, effervescent comping and hogging the limelight only very rarely—solos on “Come Back to Me” and “It’s a Most Unusual Day” are his highlights, for my money.
As well as being a great soundtrack for the road, Love’s Got Me in a Lazy Mood offers some scope for dancing, particularly if salsa is your style: the Southern-Hemisphere sounds of “Come Back to Me,” “Estrada Branca,” and “I Concentrate on You” beckon Latin dancers to the floor. Other tracks invite only quiet contemplation: “A Cottage for Sale” is a slow ballad with a minimalist arrangement—seemingly taking more cues from Willie Nelson’s version than Nat King Cole’s—allowing Purcell’s yearning vocal to weave its heartbreaking tale. I can’t fault anything about this record, least of all the production quality: even through my new ride’s less-than-bassy stereo speakers, the sound is rich and full. Darden Purcell is an internationally touring artist, much sought-after vocal coach and Director of Jazz Studies at George Mason University—a CV which announces itself loudly on this delightful disc, both through her superb vocal performance and the roster of instrumental talent at her command. Love’s Got Me in a Lazy Mood is out now—see dardenpurcell.com for details.
Darden Purcell, Love’s Got Me In A Lazy Mood
March 31, 2024
The D.C. resident and vocalist Darden Purcell finds herself in the sounds of the ‘60s for this 3rd recording as leader, where Joe Locke, Shawn Purcell, Todd Simon, Jeff Reed and Todd Harrison are along for the timeless listen.
“Willow Weep For Me” opens the listen with Purcell’s smooth voice alongside Simon’s elegant keys and Locke’s flowing vibes, and the title track follows with a sublime intimacy that uses Harrison’s reserved drums superbly amid the expressive singing.
Deeper into the middle, the frisky and rhythmic “I Concentrate On You” welcomes Shawn Purcell’s warm guitar to the lush album highlight, while the upbeat “Chatterbox” makes great use of Reed’s well timed bass, as Purcell shows off an impressive range. Close to the end, the animated “Taking A Chance On Love” meshes the lively keys and atmospheric vibes with much precision, and “You’ve Changed” exits with a sophisticated and emotive delivery thanks to the rich and cautious instrumentation.
Purcell’s husband, co-producer, arranger and guitarist Shawn helps make for a dynamic listen, where both gentle and swinging moments are to be enjoyed immensely for those with an ear for vocal jazz sounds.
REVIEWS - Where the Blue Begins
Dr. Darden Purcell waited eight years to record Where the Blue Begins as a follow up to her debut recording Easy Living (Armored Records, 2009). The Dr. part? Yes, well Dr. Darden is the Director of Jazz Studies, Jazz Voice at George Mason University, and holds a doctorate of Musical Arts in Jazz. Her bona fides aside, Darden, is as much a vocalist as an educator and each role feeds the other in a most convenient relationship. Easy Living is a collection of mostly well-known standards from Cole Porter's "Love for Sale" (1930) to Gerry Goffin and Carol King's "Will You Love Me Tomorrow" (1960) with the surprises of "Your Red Wagon" and "Ding Dong! The Witch is Dead."
Darden largely does the same with the present Where the Blue Begins save for her much sharper programming focus, including songs with a nocturnal focus, crepuscular, if you will, twilight. Her voice is well suited for the material, sonically well balanced and precise. Compare the punchy humor of "Destination Moon" with the almost sardonic bluesy-churchy delivery of "This Bitter Earth," and one can hear a great deal of ground covered. Purcell's control of her instrument is in the same neighborhood as that of Roseanna Vitro, who I consider a gold standard. Purcell has fun with "Old Devil Moon," intricately arranged by guitarist (and husband) Shawn Purcell, playfully tickling those old lyrics in the same way pianist Todd Simon does the keys during his taut and angular solo. Purcell and the band do qualitatively the same with "Darn That Dream," introduced by guitarist Purcell's drowsy, Les Paul-influenced lead in. Vocalist Purcell takes full advantage of her well-studied and expressive voice of hers.
As Easy Living had surprise, so too Where the Blue Begins. "The Nearness of You" is given an almost early 1970s rock rave up and before smoothing into one of the most accessible and pleasant performances recently heard. Shawn Purcell's guitar in the introduction of the Hoagy Carmichael classic strangely recalls Caleb Quaye's playing in Elton John's "My Father's Gun" (from Tumbleweed Connection (Universal, 1970). Shawn Purcell's ability to effortlessly slip this aural idée fixe into this otherwise well-worn standard provides the piece with an entirely new perspective.
For her part, Darden Purcell is a singer who will express exactly the intention of the composers, meeting that very necessary need in jazz for newer listeners to understand what the melody was to begin with to the American Songbook before jazz works its magic. Shawn Purcell's understated, round-toned guitar playing provides the perfect foil to his wife's precision vocals. The piece closes with the same figure used in the introduction, making for a tightly constructed performance that makes perfect sense. Not a dropped note within earshot. Darden Purcell need not wait another eight years for her next release. She has all of the talent, her own and in her support, to follow this fine recording with something even more special. allaboutjazz.com/where-the-blue-begins-darden-purcell-armored-records-review-by-c-michael-bailey.php
- C. Michael Bailey, All About Jazz
Best Blues You'll Hear - Darden Purcell – WHERE THE BLUE BEGINS
One of the things a jazz vocalist must have is – precision; in the sense of timing, and in their ability to “mesh" with the instruments that are supporting them. Ms. Purcell has that in ways no other vocalist I’ve listened to lately does… just listen to Shawn Purcell’s arrangement and Darden’s lively execution on the (totally) upbeat opening track, “Destination Moon“… this isn’t like any other version you’ve heard, and will have you hitting the repeat button often… since I’m a (sometime) keyboard player, I was especially attracted to this piece… the organ (Todd Simon) is jam-packed with raw jazz energy!
Darden has an excellent cast of players helping her out – Stockton Helbing (drums and cymbals) produced, with musical direction by Shawn Purcell (nylon string and electric guitar); other players are Todd Simon (B3 organ, piano, wurlitzer and Fender Rhodes), Paul Henry (acoustic and electric bass) and Kenny Rittenhouse (flugelhorn and trumpet), and they are totally “on" from opening note to the very last bar! I just loved the group’s performance on “Old Devil Moon“… again, it may be a classic, but Darden & her folks just “own" it!
Make sure you arrange for (at least) an hour to listen to this CD (headphones recommended), so you can absorb every scintillating note on this high-end musical adventure… my personal favorite of the eleven songs offered up on this release is the mighty mellow “Lullaby of the Leaves“… beautiful bass intro from Paul & a segue into a “Peggy Lee" type vibe that is pure jazz perfection… I give Darden & her folks a MOST HIGHLY RECOMMENDED, with an “EQ" (energy quotient) rating of 4.99. contemporaryfusionreviews.com/review-darden-purcell-where-the-blue-begins/
- Rotcod Zzaj, Contemporary Fusion Reviews
DARDEN PURCELL - Where the Blue Begins
A classic thrush with two degrees of separation from Doc Severinsen, Purcell swings around a classic lyric with ease and style. With some great B3 work powering the background, this is a nice new look at a boatload of classics, most of which haven't been beaten to death by the recent class of jazz divas. A solid treat throughout for jazz vocal fans. midwestrecord.com/MWR1157.html
- Chris Spector, Midwest Record, Entertainment, Reviews, News and Views
WHAT PEOPLE ARE SAYING...
Darden Purcell is clearly a totally hip vocalist; it's as simple as that! From the DC area, Darden's vocal talent delivers just what you want to hear: style, interpretation, selection of songs, scatting chops, great vocal and instrumental solos throughout, and a superb instrumental ensemble supporting her with creative and interesting arrangements by Shawn Purcell. Darden shines throughout! The boxes are all checked. You'll dig it, I promise!
- Pete Barenbregge, Jazz Saxophonist, Former Director of the USAF Airmen of Note, Jazz Editor, Alfred Music
Darden's latest record is outstanding - great tunes, great arrangements, and great singing and playing. The whole thing, from beginning to end, is fresh, creative and fun. She is truly a world-class artist. Highly recommend!
- Stephen Jones, Director of Jazz Studies and Associate Professor, Texas Tech University School of Music
Guest solo vocalist Dr. Darden Purcell, of Washington, D.C. Air Force Band notoriety, was a pure joy to listen to. Her husky rendition of “Do You Know What It Means to Miss New Orleans?" was flawless as was her five star performance of “Haleujah, I Love Him So.
- Audrey Thornton, DCMetroTheaterArts.com
Darden Purcell also returned as soloist in an intriguingly different Bryan Kidd arrangement of the old classic, “My Funny Valentine," and in a hot, scat-singer arrangement of Bert Kaempfert’s and Milt Gabler’s “L.O.V.E.," aided and abetted by instrumentalists Jim Carroll, Dave Detwiler and Dave Perkel.
- Terry Ponick, Communities Digital News
Of worthy note, I found Guest Vocalist Dr. Darden Purcell’s vocal range and jazz expertise superb. Her voice very capably caressed a mature up tempo, playful rendition of “On a Clear Day" and, in a Spanish/English duet with guest vocalist Brazilian-born Gina Mirenda of “The Waters of March," drew a standing applause. A sought-after clinician and jazz vocal educator, Dr. Purcell’s students have benefitted from her talent, winning “Outstanding Soloist" awards at collegiate festivals as well as Downbeat Student Music awards.
- Audrey Thornton, DCMetroTheaterArts.com
"Darden's time has come...a remarkable first recording from a singer of incomparable talent and depth...partnered with some of the finest jazz musicians anywhere. In a CD filled with interesting twists and turns and great songs, the treatment of Will You Still Love Me Tomorrow alone is worth the price of admission."
- Jim Pugh, Trombonist and Professor of Jazz Trombone at the University of Illinois at Urbana-Champaign
"Once in a while you hear a jazz singer whose voice is so unique and intimately communicative, that it simply reaches out and makes you stop and listen. Darden has one of those voices. Her style is understated and yet extremely expressive with an unerring sense of pitch, swing feel and phrasing. In her first release, Darden demonstrates a sense of balance, restraint, honesty and thoughtful musicality that is usually reserved for the experienced veterans. Look out for this young lady, a formidable voice has emerged onto the scene."
- Dr. Lisanne Lyons, Jazz Vocalist and Jazz Voice Professor at Florida International University
"Easy Living is a a solid recording from top to bottom - great musicians, great arrangements, great production, and Darden is simply wonderful throughout."
- Alan Baylock, Composer, Arranger, Leader of the Alan Baylock Jazz Orchestra and Director of the UNT One O'Clock Band
"This new CD by Darden Purcell is the real deal. Her take on familiar standards like Love for Sale and Get Happy is bold and fresh, and she brings an easy, innate sense to swing to every track. She is one jazz singer worthy of the name!"
- Bob Bernotas, Host of “Just Jazz" www.wnti.org
"Bravo! It is beautiful!! Darden’s voice is pure, sweet and relaxed. Very at-home in the jazz style. It’s a nice collection of a wide variety of songs. Great arrangements and guitar playing Shawn! It gives the music a distinct personality for the entire project. I love getting to hear Chip S.’s playing on piano and Chip’s McNeill’s saxophone and producing is superb."
- Steve Allee, Pianist, Composer and Arranger
"The first thing you’ll notice about Darden Purcell when you listen to her new album Easy Living is the gorgeous timbre of her voice and the precision of her diction and time feel. She’s obviously a top-notch vocalist and her band includes some terrific performers. Saxophonist Chip McNeill is something of a hero among inner circles of jazz musicians and the harmonic substitutions he employs in some of his solos make for interesting listening. Shawn Purcell, while not as well-known to me, is highly skilled and very swinging guitar soloist. While all of the tunes were performed well, the pieces that stood out to my ears were the ballad performances, particularly Alice in Wonderland and You Don’t Know What Love Is. I would recommend the album and I plan on adding it to the queue of new recordings that I feature on my radio program."
- Peter Solomon, WCVE-FM, Richmond, VA
"Darden Purcell’s CD, Easy Living, is a fantastic introduction to this vocalist. She has a great control of pitch and nuance. She does great material. Most singers sing in 7/4 by mistake. Not this one. Darden is in control and the arrangements give her ample opportunity to showcase her knowledge and talents with jazz standards presented in fresh surroundings. I was equally drawn to the band. What a great group. Everyone one on this CD is doing their job, supporting Darden with a flourish. I was really taken with the quality arrangements and their superb execution. The solos are fantastic; the vocal accompaniment always on the mark. You must hear this music!"
- Harry Miedema, Director of Jazz Studies, University of Indianapolis
"I go to L.A. Jazz Institute Fests, I go to Chicago Jazz Fest, and I travel to others around the U.S, and your band and singing topped singers I have heard at these events, in other words to my ears your simply the best I've heard. Top Jazz Vocalist on my list. Please keep on swinging."
- Harry Condon, Jazz Aficionado
REVIEWS - Easy Living
Darden Purcell - EASY LIVING
Working backwards, I discovered DC-area jazz vocalist and educator Darden Purcell with her second recording, Where the Blue Begins (Armored Records, 2016). It was an impressive recital with the nominal theme of twilight winding through its repertoire. While less thematically focused, Easy Living remains a well programmed set of eleven standards, "My Funny Valentine" thankfully not among them. Easy Living smacks of youthfully precocious invention, a collection of master musicians trying their individual talents out in creative ways.
Vocalist Purcell possess an instrument finely tuned through study and performance. She is easily the most precise singer I have heard in sometime. Her delivery and sense of time are impressive and immediately evidenced of the opener, "What a Little Moonlight Can Do." Purcell displays some pretty impressive scat chops in the introduction before launching into a very precise delivery of the song. Clinically precise.The "clinical" part of this precision softens, particularly in the soft ballads like "Alice in Wonderland" and a terrific reading of the Goffin-King classic, "Will You Love Me Tomorrow." "Love for Sale" finds both Purcells relaxed and swinging. Singing with sardonic humor, Purcell reveals the same delicate shabby hopelessness present in Billy Strayhorn's "Lush Life" and, in doing so perfectly capturing Cole Porter's intention for his 1930 The New Yorkers showstopper.
The satisfying surprises lay in a rollicking "Your Red Wagon," that finds pianist Chip Stephens and winds player Chip McNeill playing con brio supporting both Purcells to do the same. What? Another tired performance of the 1930 Arlen-Koehler chestnut, "Get Happy?" Not on your life. Just as he did on "The Nearness of You" from Where the Blue Begins, Shawn Purcell transforms what begins as a churchy reverent performance into a Ben Monder—Shawn Lane shootout that is delightful. Now, that's what I am talkin' about! Easy Living finds Darden Purcell doing some pre-event warm ups in anticipation of the classroom, concert stage, and Where the Blue Begins. allaboutjazz.com/easy-living-darden-purcell-armored-records-review-by-c-michael-bailey.php
- C. Michael Bailey, All About Jazz
DARDEN PURCELL - Easy Living
Darden Purcell, who is based in central Illinois where she performs regularly and is an educator, has a beautiful voice, a direct delivery, and an understated style. She is reminiscent at times of Carmen McRae, Irene Kral and Maxine Sullivan but has her own sound.
She is joined on her debut CD by guitarist Shawn Purcell, saxophonist Chip McNeil (heard on tenor, soprano and flute), pianist Chip Stephens, bassist Dennis Carroll and drummer Stockton Helbing. Shawn Purcell in particular displays a lot of versatility, ranging from a laidback 1950s jazz guitar style to sounding rockish on “Get Happy." McNeil and Stephens also have their solo spots and each of the musicians is a strong and sympathetic asset.
Darden Purcell interprets 11 standards which are uplifted by both her voice and the consistently inventive arrangements. The opening “What A Little Moonlight Can Do" begins as a fairly free duet with drummer Helbing on which the singer displays some fine scatting before the song becomes a cooker. On “Comes Love" Darden expresses sensuality worthy of Billie Holiday, and she is quite wistful on a lyrical version of the jazz waltz “Alice In Wonderland." “Love For Sale" is taken in 7/4 time with funky bass patterns by Carroll. The lowdown blues “Your Red Wagon" and a bossa-nova flavored version of “Last Night When You Were Young" offer contrasting moods that make the two songs sound fresh.
“Get Happy" is taken slower than usual and has Darden putting plenty of feeling into the words . She is featured on a nice wordless passage during “You Don't Know What Love Is," fearlessly sings “Ding Dong, The Witch Is Dead" over advanced harmonies by the group, and concludes the set with a warm version of “Easy Living."
Throughout Easy Living, Darden Purcell displays a willingness to stretch herself while doing justice to the melody and lyrics that she interprets. Clearly, she has a great future in jazz.
- Scott Yanow, Author of ten books including The Jazz Singers, Swing, Jazz On Film, and Jazz On Record 1917-76
Darden Purcell - "Easy Living" (Armored Records)
It's easy living indeed while relaxing and listening to singer Darden Purcell take on this choice set of classics. Starting off with some nice scatting, Purcell tears into "What a Little Moonlight Can Do" - which also features some fine work on the piano by Chip Stephens and tenor saxophone by Chip McNeill. Besides having two Chips in her band, Purcell possesses a smooth and confident voice with an appealing presence. A sultry tango version of "Comes Love" is a highlight with some pleasing guitar by Shawn Purcell and Darden's ability to sell the lyrics. For me, however, the standout track may be the version of Sammy Fain and Bob Hilliard's "Alice in Wonderland" - which is often covered as an instrumental, but here shines in all its lyrical glory, and even offers a too-rare Dennis Carroll bass solo. Purcell's relaxed phrasing continues even on the funked-up "Love For Sale" which again showcases Shawn Purcell's guitar work to good effect. McNeill pulls out the soprano saxophone for a sexy and somewhat mournful take on Carole King and Gerry Goffin's "Will You Still Love Me Tomorrow?" which enhances the underlying fear inherent in the lyrics. More delights follow, including the swinging and bluesy "Your Red Wagon," three Harold Arlen tunes ("Last Night When We Were Young," "Get Happy' and improbably "Ding, Dong! The Witch is Dead"), "You Don't Know What Love Is" and the album-ending title track - all of which are performed well by the band and sung with charm by Purcell. Hearing these tunes in this setting is an agreeable experience and Purcell is clearly comfortable with these melodies. As engaging as this recording is, I'd almost hope to hear this singer stretch out even more with a bit more power and edge and show us what heights I believe she is more than capable of reaching (more scatting perhaps?), but in the interim, this is a beautiful release and a great start to a talented singer's recording career, and I wish her the best.
- Brad Walseth, JazzChicago.net
Easy Living - Darden Purcell
Darden Purcell – Vocals
Chip McNeill – Saxophone, flute
Shawn Purcell – Guitar
Chip Stephens – Piano
Dennis Carroll – Bass
Stockton Helbing – Drums
The appeal of reworked standards is similar to that of a newly made batch of one’s favorite cookies: The familiarity gives one comfort while the freshness thrills the taste buds. Darden Purcell’s Easy Living does exactly that for the ears.
Purcell opens the record with several bars of highly original scatting and then launches into “What a Little Moonlight Can Do," delivered in an up-tempo arrangement. Her full-range voice is warm and sensual, with a touch of melancholy that makes for a pleasant listen as she works through several other jazz and pop workhorses, infusing them with a new life. From the Latin-inflected “Comes Love" to the funky “Love for Sale," which she delivers with a playful whimsy, the old songs sound better than they have in awhile. It is shame that Purcell limits her improvised scatting to a few tracks since she has clearly mastered the technique.
She is backed by an able quintet made up of masterful musicians who support her without drowning out her voice, even when they are soloing behind her. They also creatively improvise during the instrumental interludes. Highlights include Chip McNeil’s saxophone solo on “Alice in Wonderland," Shawn Purcell’s guitar solo on “You Don’t Know What Love Is" and the bluesy “Red Wagon." Although fresh, the overall effect is mainstream...nevertheless, it has enough substance and creativity to maintain interest and reward repeated listenings, thanks primarily to Purcell’s superlative arranging and vocal skills, and her honey-and-spice-drenched voice.
- Harry Attayrin, Chicago Jazz Magazine
VOCALIST PURCELL IS EASY ON THE EARS
Jazz fans packed The Iron Post on Wednesday evening for vocalist Darden Purcell's CD relese party, prompting me to tell her during the break that she needs a "bigger room"
She thanked me and said she hadn't expected so many people. I told her the sexy photograph on the cover of her new CD, "Easy Living" might have been responsible. I was just kidding about that but not about Purcell needing a bigger room. Post owner, Paul Wirth has called her the next Diana Krall. I expect it won't be too long before Purcell is playing places like the Green Mill in Chicago and Blue Note in New York.
She has a supple, subtle, slight smokey alto that is easy and pleasing on the ears. Her phrasing is great too. Her well-produced and engineered CD is impressive as well, featuring first-rate players like Chip Stephens, Chip McNeill, Dennis Carroll, Shawn Purcell and on drums, Stockton Helbing, the youngest music director ever for Maynard Ferguson's band. The CD was released on Helbing's label, Armored Records.
On "Easy Living," Darden sings jazz standards (some by Harold Arlen including "Ding Dong! The Witch is Dead") given contemporary arrangements by herself and her husband, Shawn a guitarist who produces a beautiful tone.
By the time Darden's two hour gig came to an end and on Wednesday evening, many in the audience had bought her CD. At least 53 copies were sold. I bought one myself, at the reasonable price of $12 and have been giving it repeated spins.
Melissa Merli, The News-Gazette - Entertainment Section - Sunday Nov. 15, 2009
Darden Purcell - Easy Living CD
A szép és igen kellemes hangú fiatal énekesnő első lemeze ragyogó indulás a pályán, ha az ő esetében egyáltalán szabad indulásról beszélni. Purcell ugyanis hosszú évek óta hatalmas sikerrel szerepel pódiumon, szűkebb hazájában közép Illinois-ban az egyik legkeresettebb jazz énekesnő. Purcell kiváló zenei képzésben részesült, és énekesi tehetsége hamar megmutatkozott. Ezt mi sem mutatja jobban, mint az, hogy meghallgatás után szólistaként felvételt nyert az U.S. Air Force Band “High Flight" együttesébe, amellyel szinte az egész világot bejárta. A karrier csúcspontját az jelentette, amikor a légierő “The Airmen of Note" nevű elit jazz együttesével turnézott.
Ezt követően fejezte be zenei tanulmányait, jelenleg az éneklés mellett oktatással és együttes vezetéssel is foglalkozik. Az Easy Living lemezen ismert számok hangzanak el (What A Little Moonlight Can Do,Love for Sale, Get Happy, Will You Still Love Me Tomorrow) Purcell egyéni, nagyon újszerű interpretálásában.
Hatalmas rutinból fakadó biztonság érezhető az előadáson, semmi sem emlékeztet arra, hogy egy fiatal énekes első lemezét halljuk!
A lemez Stockton Helbing Armored Records kiadójánál jelent meg 2009-ben. Kiváló hangminőségű, szép, zeneileg érett album.
- Rudolf Radnai, Hungary CD Reviews
One of the things that is a fun part of writing about new albums is the opportunities it provides to find new talents who offer a great deal of promise. Like Henry Darragh whom I reviewed above, Chicago-based vocalist DARDEN PURCELL has just released her initial CD, Easy Living (Armored Records – 8007). It is a far more mature effort than is normal for a first album. She starts out with “What a Little Moonlight Can Do," and leaves no doubt that she knows how to swing. So do the cats who back her, Chip McNeill on sax and flute, Shawn Purcell on guitar, Chip Stephens on piano, Dennis Carroll on bass and Stockton Helbing on drums. She sticks mostly with selections from the Great American Songbook, but has included a couple of surprises, her wistful readings of “Alice in Wonderland" and “Will You Still Love Me Tomorrow," and the bluesy “Your Red Wagon," once a favorite in jazz and blues circles, but much less frequently heard these days. Particularly impressive is her phrasing. She knows how to do justice to lyrics. This is one hell of a fine debut for Darden Purcell. (www.armoredrecords.com)
- Joe Lang, The New Jersey Jazz Society Journal
CU HIGHLIGHTS LOCAL TALENT WITH NEW PROGRAMS AND WEEKLY EVENTS
217.com - Music - Leslie Goldberg
In case you’ve been living under a rock, you should know that one of the best parts of living in Champaign-Urbana is the many amazing, world-class concerts that you can see for dirt-cheap. Referring especially to the jazz scene, every week you can see world-class shows for an average of $3.
Whether you are already a jazz-lover, or just looking for quality music on any given night, you can find all kinds of jazz in CU. The most popular venues for jazz are The Iron Post and Zorba’s, both of which have a Jazz Night on Thursday for a $3-$5 cover. Both are great for people looking for an intimate venue, although The Iron Post has a better venue-style set-up and acoustics. The venue also has jazz performances on Fridays from 5 p.m.-7 p.m. and Sunday evenings.
Besides these venues, the best place to go and see jazz on a weekly basis is Jazz Forum, which is held in Room 25 of Smith Memorial Hall every Friday from 12 p.m.—1 p.m. Each week, a different U of I Jazz band, combo, or ensemble plays for free. This is also the best place to go and hear about upcoming events, since the students spend time before the performances announcing their gigs for the upcoming week. The Illini Union Courtyard Café also has a free hour of U of I jazz performers every Thursday at noon.
Although the weekly performances are great and serve as the basis of the jazz community, several standout performances exist this season that should not be missed. The Vanguard Jazz Orchestra, a band originally formed by Thad Jones and Mel Lewis in 1966, is coming to Krannert this weekend, Friday, Oct. 10. Darden Purcell, a jazz vocalist Doctoral candidate who Wirth describes as “the next Diana Krall," is holding a CD release party for her first (and highly anticipated) album, Easy Living in early November at The Iron Post.
There are several jazz Doctoral candidates holding their final recitals at The Iron Post this semester, namely Mark O’Connor (jazz saxophone) on Oct. 25 and Chris White (jazz piano) on Nov. 4, both of which should be fabulous. Along with these standout performances, every Wednesday from 6 p.m.-9 p.m., Don Heitler, one of the longest performing jazz musicians in town, plays piano at The Great Impasta in downtown Urbana. A fabulous musician, Heitler is a virtual encyclopedia of jazz charts and puts on an amazing performance. He also periodically performs at the Appy Hour at Silvercreek Restaurant with Darden Purcell.
The newest facet of jazz in CU is vocal jazz. With the support of Chip McNeill, Darden Purcell started a vocal jazz studio at the School of Music last year, its newest facet is the Vocal Jazz Ensemble. Previously, the only vocal jazz on campus was the student-run jazz acappella group, No Strings Attached. Darden said the reaction from the community about vocal jazz has been phenomenal. “Last week, the vocal jazz studio performed at Zorba’s restaurant, and had a line of people out the door waiting to come in. You can’t beat that kind of support," Purcell shared. The vocal jazz studio will be performing once more this semester, at The Iron Post on Dec. 9.
DOWNTOWN FESTIVAL OF THE ARTS CELEBRATES COMMUNITY
217.com - Arts - Syd Slobodnik
The 6th Annual Champaign Park District’s Downtown Festival of the Arts is just around the corner on Aug. 15, in the heart of downtown Champaign at Neil and Main Streets from 10 a.m. to 7 p.m. Champaign Park District’s Special Events manager Katie Flint says the festival will “emphasize the different types of arts local and regional … for the music lover, dance lover, jewelry lover, etc." for people of all ages.
Over 70 artists will be featured in this day long celebration of the area’s myriad of creative fine artists from music, photography, watercolor, jewelry, glass work, sculpture and much more. This family event will offer a variety of foods from the immediate local eateries (like Aroma Cafe, Jim Gould, Café Kopi) and enrich the hearts and souls of local art lovers.
The fest will feature three venues: a main stage of local musicians, a performing arts stage, highlighting theatre and dance and a family entertainment stage with music, storytelling and a magician.
Featured performer Darden Purcell is thrilled at the opportunity to perform at this year’s fest: “I think it is fantastic that downtown Champaign hosts a day for artists and performers to showcase their talent. There are so many gifted people in this town and it is wonderful that this community supports these local artists".
Among the many musical artists featured in this year’s fest include local acoustic and folk group, The Hathaways. The Darden Purcell Quartet, a jazz group lead by Purcell, a renown jazz vocalist, will also perform. According to Purcell, “The audience can expect to hear classics from the Great American Songbook as well as Jazz Standards and Brazilian music."
FORMER AIR FORCE MUSICIANS SPREADING THEIR WINGS
The News-Gazette - Melissa Merli
Most people have weird notions about military bands, say Shawn and Darden Purcell. They think of John Philip Sousa and marching music, and bass drums and bugles.
Shawn, a guitarist, and Darden, a jazz vocalist, will tell you their experiences with the U.S. Air Force bands were quite different.
Darden's main repertoire was pop-rock and jazz; Shawn's was jazz. The venues they played varied as they traveled the world as international ambassadors of music. Back in the States, they performed at monuments and museums in the Washington, D.C., area, where they were stationed, and at theaters and other venues nationwide.
And they didn't have to live on base. "It was about as unmilitary as you can get," Shawn said. The two met in 1999 in a concert series featuring a number of Air Force bands. They later started dating and then married.
They are now studying for advanced degrees at the University of Illinois School of Music and performing often at clubs in Champaign-Urbana. They have been well-received by listeners and fellow musicians alike.
"They've contributed greatly to the scene because of Shawn's guitar abilities – he's extremely versatile and plays with several groups, bigger bands and trios and quartets," said Paul Wirth, owner of the Iron Post in Urbana. As for Darden, Wirth said she has a distinctive alto with a full range. "I like to say she could be the next Diana Krall," Wirth said.
Darden, 33, attributes a lot of her musical growth to the Air Force because it forced her to quickly learn and perform music. One day she might have had to learn pop-rock tunes, with choreography, and the next day, big band songs. "The first gig I had was for the highest ranking officer in the Air Force," she said. "I'd been out of basic training for four weeks. I was told, 'Learn this music, get in your uniform and go over to his house.'"
As soon as Shawn finished his basic training, he found himself in a studio recording an album with Airmen of Note, the top big band in the Air Force, considered the direct descendant of Glen Miller's Air Force band.
Before joining the military, Shawn had an even more unusual musical experience: For two years the guitarist toured with the Ringling Brothers and Barnum Bailey Circus band, after graduating from Duquesne University. "It was a unique gig for musicians, a really good job with a good salary and benefits," he said. "It was kind of strange being around the circus people and traveling two years straight, especially being only 21 at the time." As a circus musician, Shawn did nine shows a week, visiting 93 cities in two years. He burned out quickly, and six months after leaving the ring, he joined the Air Force. He stayed for eight years.
Darden and Shawn met in 1999 and married three years later; the ceremony was conducted by a two-star general who is the chief chaplain of the Air Force. The week after their wedding, the Purcells were touring with Airmen of Note, for which Darden was the featured vocalist during her last six months in the military. "Our first honeymoon was on taxpayer expense," Shawn joked.
That unofficial honeymoon and "creme de la creme" tour took them to San Diego, Palm Desert and other cities in California as well as Arizona and Nevada. With Airmen of Note, the Purcells also enjoyed a 21-day tour of the Middle East, performing on R&R bases for American soldiers and seeing parts of the world that most Americans never visit.
Even though her father and grandfather had been in the Air Force, Darden enlisted at the suggestion of jazz vocalist Lisanne Lyons, her mentor/teacher at Virginia Tech. Lyons also had sung with Air Force bands and taught at Virginia Tech the same time Chip McNeill was there. Lyons and McNeill, now head of the UI Jazz Studies Program, have been influential in Darden's career.
As for Shawn's musical influences, they were mainly familial. Both his grandfather and father were trombonists in the Navy band. Shawn's father, Randy Purcell, toured with Maynard Ferguson in the '70s and is on a couple of the jazz giant's best-known albums.
While many musicians make the military a career, Shawn, now 36, and Darden are among the few to return to civilian life. They wanted a change of pace and to live in a big city. They chose Nashville, mainly because of its music scene and location somewhat close to their families. They stayed in Music City for three years and would have stayed longer if they hadn't decided to pursue advanced degrees. They moved to Champaign in August 2007.
"We drove into town on a Wednesday and my first gig was on a Friday," Shawn said. "It was very promising." In fact, the Purcells play more gigs here than they did in Nashville, which has only one jazz club and many more musicians. "The thing we really like is the musicians here are really nice to one another and support one another," Darden said. "It's interesting. Here, musicians come out to other musicians' gigs."'
TWO VOCALISTS REUNITING FOR A CONCERT
The News-Gazette - Melissa Merli
URBANA - Two jazz vocalists - Lisanne Lyons and her former student, Darden Purcell - will reunite Thursday evening as guest vocalists of the University of Illinois Concert Jazz Band in concert at Krannert Center. Chip McNeill, director of the Jazz Studies Program in the UI School of Music, will conduct the band and singers in the 7:30 p.m. concert in the Colwell Playhouse. They will perform new and original compositions written and arranged by band members and taken from the band's new CD, "As of Yet." Tickets are $10 for adults, $7 for senior citizens and $4 for students and available at the Krannert Center ticket office.
Lyons, who was a guest artist in the 2006 UI Summer Jazz Festival, is finishing a doctorate in jazz performance at the University of Miami. She has performed frequently at famous music clubs here and abroad and her latest CD, "Smile," with the John Toomey Trio, received rave reviews from The Washington Post. As lead soprano for the Uptown Jazz Vocal Quartet, Lyons performed as one of the headline acts for the Ottawa Jazz Festival, Detroit Jazz Festival, Clearwater Jazz Festival and the LaNuit du Jazz.
Before going to the University of Miami, Lyons was an associate professor of music at Virginia Tech, where she founded the vocal jazz program and was director of the Down Beat award-winning jazz vocal group, The New Virginians. While at Virginia Tech, Lyons received the Gamma Mu Chapter of Delta Omicron Music Professor of the Year Award. She began her singing career immediately after high school by joining the Air Force and becoming featured vocalist for the Air Force bands. After she received her master's degree, Lyons joined the national touring company of Cy Coleman's Broadway hit "City of Angels." She recently debuted the live performances of Nelson Riddle's arrangements of Ella Fitzgerald and George Gershwin songs. Along with her busy performing schedule, she is a sought-after clinician, educator, adjudicator and vocal arranger.
Purcell lives in Champaign and is pursuing a master's degree at the UI in vocal jazz performance. She obtained a bachelor's degree in vocal jazz performance from Virginia Tech, where she studied with Lyons and McNeill and performed with The New Virginians. After graduating, Purcell also joined the U.S. Air Force Band; she was a featured vocalist in its rock/pop group "High Flight" and the jazz big band, "The Airmen of Note." After her honorable discharge, Purcell moved to Nashville, Tenn., where she performed on Nashville Public Radio and was the alto voice in the jazz vocal quartet, "Third Coast Vocals." She also has sung backup for many major musicians.
A tenor saxophonist, pianist, composer, arranger and clinician, McNeill was formerly an associate professor and director of Jazz Studies at Florida International University before joining the UI School of Music faculty six years ago. Before going to Florida he was an associate professor and director of Jazz Studies at Virginia Tech University. Before that McNeill was on the road with Arturo Sandoval and Maynard Ferguson. McNeill was the musical director and jazz tenor saxophonist for Sandoval and played on his Grammy Award-winning recordings "Americana" and "Hot House." Before working with Sandoval, McNeill was the music director and jazz saxophonist for Ferguson.