Stephanie K (Klco-Brosius), vocals
Aaron Goldberg, piano and fender rhodes
Reuben Rogers, bass
Eric Harland, drums
Ryan Scott, guitar
John Ellis, tenor & soprano saxophones,bass clarinet
Produced by: Aaron Goldberg and Reuben Rogers
Stephanie K has emerged like the Venus of jazz“ with a fully-developed style that is more in keeping with that of a veteran artist. Her voice has a presence that immediately captures your attention, drawing you into her sphere of musical influence, emitting flashes of Aretha Franklin, Carol King, Diana Krall and Billie Holiday. But Stephanie K is no derivative jazz singer; she is a true original (understand that she had never even heard Anita O'Day as recently as a year ago). And she has at her command an impressive level of musicianship, with the phrasing, intonation and time sense of the seasoned jazz musician. That she came by all this as a mother of four living in Northern Germany for the past thirteen years is powerful testament to her natural abilities. Stephanie K's musical tastes run to rich, rarely-heard ballads that are brought to life by her torchy vocal style, fresh renderings of canonical popular tunes and vivid transformations of chestnuts from the American songbook.
This album, the first to be produced in Stephanie K's native U.S.A., is a book that is hard to put down; from the first phrase, you can't wait to hear where it will go next. She is joined here by an impressive group of young New York musicians. Most notable are pianist Aaron Goldberg, bassist Reuben Rogers and guitarist Ryan Scott, who create a nearly perfect complement to Stephanie's vocal style, surrounding her with a rich texture that rarely intrudes, expanding on her implicit harmonic and rhythmic statements. Highlights include her intimate rendering of James Taylor's "Don't Let Me Be Lonely Tonight", the lush, haunting "I'm a Fool to Want You" and "Straight Ahead", a tune by the legendary Mal Waldron. In his remarkable solo on "Straight Ahead", Goldberg seems to channel the composer, with an uncanny recreation of Waldron's distinctive left-hand-centric piano style. "Can't We Be Friends" begins with a near-telepathic duo with bassist Rogers, establishing once and for all Stephanie K's considerable musical chops. A growing passion for writing her own tunes and lyrics is reflected here in three original compositions: the feisty "Should We or Should We Not", an impressionistic "Subterranean Dream" and the eerily cool "Whispers With the Wind". Her talents as a lyricist are also evidenced in her version of Wayne Shorter's classic "Infant Eyes", a performance that perhaps best characterizes her unique fusion of jazz and torch styles. Stephanie K's American recording debut is destined to capture the attention of the jazz public: if you play this CD and don't find yourself possessed by her music, you had better have your hearing checked.
A project which began with a few e-mails exchanged between Japan, NY and Switzerland in October of last year, culminated in the NY recording of the CD "Subterranean Dream". Together with co-producers Reuben Rogers (bass) and Aaron Goldberg (piano), a pencil sketch of 15 songs were selected. Goldberg's predominate arrangements primed the canvas for a collage of standards, Stephanie K. originals, and pop tunes. Through inspired intros and fresh motifs, the collective vision of Rogers and Goldberg created a rich soundscape. Drummer Eric Harland was called in for some defining lines and delicate, yet colorful brush strokes, and the solo skills of saxophone master John Ellis and guitarist Ryan Scott added depth and perspective. Within the framework of this polished jazz combo, that explores both texture and space, vocalist Stephanie K. is allowed the freedom to blend in and stand out at will. Her choice of standards and pop tunes are as soulfully interpreted as her heartfelt original compositions, and her melancholic timbre lends a dreamlike quality to this multi-dimensional portrait of sound.
To vocalist Stephanie K., each song tells a unique story, one which she spins with the threads of her own life and offers with emotion to her audience. Her sultry voice can hover somewhere between nostalgia and melancholy, only to surprise her listeners with a fast talking tale laced with wit and innuendo.
After a brief career in molecular genetics, vocalist and lyricist Stephanie K. (Klco-Brosius) relocated to Germany with her growing family in1995. She performs diverse styles of music ranging from blues to the American songbook, with ensembles from duo to big band. Stephanie has performed in many international festivals, notably an opening act for trumpeter Randy Brecker, and private celebrations including functions and clubs in Europe, the US and Tunisia. Stephanie concentrates on expanding and enriching her repertoire by cooperating with musicians both in Europe and the US to form duo to extended combo situations supporting her interpretations of standards, torch songs and ever more prominent, her own originals. "Going Vocal" (2002) a project with big band was the first of Stephanie's recordings with MUSICOM, Germany. A live recording supported by jazz combo, "Do Something" followed in 2003, and "Subterranean Dream" a mix of standards, pop tunes and Stephanie K. originals is her latest release.
Multitasking being an occupational hazard when one is the mother of four children, Stephanie thrives best when stretched as thin as possible. Writing lyrics to her own songs, along with novel lyrics to such classics as Wayne Shorter's "Infant Eyes" not being enough, she has written children's stories, bi-lingual songs, and a collection of poems for children in German. She has also translated numerous song lyrics, classical CD booklets, and photographic exhibit books "Strange Paradise", and Manhattan Picture Worlds, Thomas Wrede, 2005,2009, Kerber, Germany. In addition to lending her writing skills to colleagues for biographies and CD release statements, Stephanie also teaches junior and high school English