"Smooth Jazz Singer LAURA PURSELL at Quaint Italian Eatery CIAO CRISTINA in Toluca Lake: A Perfect Fit" - Valley Scene Magazine, June 2010
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| Ron Anthony & Laura Pursell at CiaoCristina |
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A secret hideaway, tucked between Burbank and Toluca Lake, is CIAO CRISTINA, a unique family run Italian eatery featuring live jazz by fabulous vocalist, Laura Pursell, accompanied by gifted guitarist/composer/teacher, Ron Anthony every Wednesday, Friday, and Saturday from 8-11pm. With Laura's delightful renditions of jazz standards and Ron's stunning solos, your heart and soul will be uplifted, leaving you feeling lighter and brighter. Laura sings with such depth, the meaning of the words come to life during her cool, smooth delivery. Effortlessly complemented by Ron's brilliant chord and line work, is Laura's terrific technique, beautiful phrasing, and soothing style.
Laura enjoys the relaxed vibe, the people, the intimate setting at Ciao Cristina. "The staff is tremendous and the food is incredible. It feels like you're home." People communicate with her all night long. One customer even brought a jazz book for her to sing from.
Ron loves the challenge of playing three nights a week with Laura because he gets to be the keyboards, bass, and drums. "Laura has great intonation, timing, and ears. She sings in tune so well that I can change keys and she intuitively follows."
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| FEATURED ARTIST FOR FEBRUARY 2008
| "Jazz so smooth you could spread it on bread."
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By Jamie Anderson
Backed by lush instrumentation, this jazz performer pours her buttery vocals over each phrase. She wrote the lyrics too, with gorgeous melodies by Andrew Bonime. It’s a beautifully designed package, from the creative and interesting liner notes to the elegant photos by Mark Robert Halper, within a warm monochrome design. It’s so lovely I’d hang it on a wall. It perfectly matches the music too so if you saw it in a store or on line, you’d know that inside was jazz so smooth you could spread it on bread.
At the start is an overture with a full orchestra. Not sampled strings, mind you, but violins, violas and more. A wistful oboe provides a beautiful melody partway through. It all feels like something that would play over the opening credits of a movie. The film continues with “When You Come Down” -- a message of encouragement floating on a bed of harmonies gently holding her vocals. An acoustic guitar provides interest. She takes a more pop approach with “It Might as Well Be Magic,“ a riffy guitar gluing it together. “Skywriting Neon Lights” is about the guy who got away
Skywriting neon lights
Blazing across the night
You blinded me with beauty every day
The roses I threw away ...
In the liner notes, she says that there really were roses that were dumped in the garbage. Real life is a better inspiration than anything else, especially when you’re singing about regret.
“Not Much to Lose” is a song that ends with a whimper and not, as she says in the liner notes, broken dishes. The liner notes, by the way, are fabulous, not only including the lyrics (too often lacking in many recent releases) but her inspiration for each song. I love reading the stories behind the tunes. Before “The Maple Tree,” she laments that as a chid she was the one in clunky glasses who was picked last for sports teams. She spent much of her childhood in a favorite tree with a good book. “Me too!” I wanna shout and now look at me, scribbling away about her album. And Laura, I didn’t wear thick glasses but I wore an eye patch and wearing one of those while trying out for the pom squad did not help me get the gig. But, I digress … it’s not just my “me too” moment - lots of us spent our childhood curled up with books. Now look at us. Do you think the former cheerleaders can sing like that? (Or write CD reviews? Okay, now I’m flattering myself. Better move on.)
“My Heart Knows You Were Here” is an achingly beautiful ballad she wrote for a friend who died young. It features only her voice, a rolling piano and light strings.
My absolute favorite is “I’ll Wait.” It builds like a good gospel tune – first the piano chords played with conviction then an organ steals in and slowly it builds to a hallelujah-I-am-FEELING-it gospel choir who tears it up. Amen sister, amen.
The last song with lyrics is “He is Everywhere.” From the title I thought it might be a religious number but it’s not at all. With a dark melody, she sings of a disturbing presence who “saturates your world like amber wine.” Following it is an instrumental version that acts as a finale, just like the music that plays over the end credits of a great movie. So Laura and Andrew, you’ve got the wonderful soundtrack. When can we expect to see the movie?
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LAURA PURSELL - "SOMEWHERE IN THIS ROOM"
October 11, 2007
Somewhere In This Room is a work of art put into motion with the angelic voice of Laura Pursell. If you were to base this recording on the lengthy write up that Laura contributes in the CD booklet before you listen, there is no doubt you will perceive everything quite differently. I took the time to read the introspective outlook the artist has on her world and music, and found that the output of her work matches her philosophy.
In retrospect, after listening to this CD several times, I was able to focus on the lyrics and appreciate all of the musical talent that was necessary to make this work. Pursell has a bevy of musicians contributing to her project, and obviously the diversity that was in the studio at the time that this was recorded benefited each track in an exceptional manner.
The recording begins with a lush orchestration befittingly titled “Overture.” This lays the groundwork and sets the expectation for a tasteful musical voyage. ”It Might As Well Be Magic” showcases the singer as budding pop diva with a positive message for ears that are ready to accept it. What I found compelling about this album, besides Laura’s sweet and inviting vocals, was the way she used different styles of musical expressions, sometimes several within one track. At times, you will hear a stinging rock guitar run followed by a jazz infused piano; everything rolls right along to set the mood.
My ears are most appreciative of musical diversification. If a performer’s voice maintains the same tone and level of resonance most of the time, the music behind them needs to change and evolve. If this does not happen, every song sounds the same. We have all heard albums like this; the artist is successful with a certain formula and sound, it sells, so why change and take a chance? This is why I found a love for indie artists long ago. Indies set their own pace and make the music for themselves, not a label or overpaid lawyer looking to keep the bigwigs happy. In the end, the music usually finds appreciative ears.
“Maple Tree” has a simple premise but a good message. The song sounds like something you would hear on a children’s show, and it is even complete with a child chorus. Do not be fooled by the innocence of this track, the lyrics speak of how mean kids can be in the schoolyard; however in the adult schoolyard of life, they can be just as mean and vicious. I depends what perspective you take while listening. Everyone needs a special place to go find serenity and recharge their soul with something spiritual like nature, like a big maple tree that nobody else visits. I heard the words and was able to reflect upon my own existence, the tears and laughter I experienced throughout life and the love of a quiet walk up the river into the woods to feel in touch with everything I am. Maybe this is being a bit too idealistic for some but the track really hit home after giving it a chance and thinking about the whole picture.
After 11 thought provoking tracks, you find your way to the “Finale” and the show closes out with an impressive musical roar. At times you feel this can be a pop-like syrupy excursion, but if you take the time to read the CD booklet, listen to the words, and process everything presented here, you find much more.
Keith “MuzikMan” Hannaleck-October 11, 2007
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Los Angeles Times
March 23, 2002
A BIG BAND TRADITION FROM LAURA PURSELL
Jazz Review
By Don Heckman
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Retro was in the air Thursday night with a performance by singer Laura Pursell and her All Star Band at Spazio in Sherman Oaks. Echoes of the '40s and '50s--of briskly swinging music, of vocalists whose work was an integral element of an ensemble, of jazz instrumentalists cutting loose over danceable rhythms--filled the room.
Pursell, who has three CDs in release--"It Had to Be Swing," "UnKISSed" and "That's What Christmas Used to Be"--offered her vocals in the fashion of such big band canaries as Jo Stafford and Helen Forrest. Most of the selections came straight out of the top hits chapter of the great American songbook: "Almost Like Being in Love," "Watch What Happens," "Skylark," "Pennies From Heaven."
And the arrangements, virtually all written by Rusty Higgins for a seven-piece ensemble, were reminiscent of the little big band groups that were popular in the West Coast jazz movement of the '50s. Pursell displayed an attractive sense of musical line in her rendering of "Skylark," and the rarely heard verse to "Pennies From Heaven" offered one of the set's few opportunities to hear her dark-toned voice in an unaccompanied setting. When Pursell was joined by singer Julia Holland to romp through upbeat renderings of "Choo Choo Ch'Boogie" and "Undecided," the only element missing was a floor full of jitterbugging dancers.
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LA Jazz Scene - January, 2002
LAURA PURSELL CD RELEASE PARTY AT SPAZIO
By Bob Comden
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Singer Laura Pursell and her All-Star band performed at Spazio for a one-night engagement in December. Pursell is a very attractive singer, with a beautiful voice. She has been performing around town in such venues as The Money Tree, Monteleone's, and has worked in Santa Barbara. She has two CDs out, one with her All-Star ensemble titled, 'It Had to Be Swing' and a Christmas CD, 'What Christmas Used to Be'.
A good sized crowd out to the party on a rainy night in December. The band consisted of Rusty Higgins on sax (who also did most of the arrangments), Carl Saunders - trumpet/flugelhorn, Andy Martin - trombone, Jon Kurnick - guitar, Paul Gormley - bass, Chuck Hoover - piano, and Ray Brinker - drums. The set opened with a couple of Christmas classics done in a very swinging mood, 'Winter Wonderland' and 'Let it Snow', with great solos from Higgins, Saunders, Martin, and Hoover.
Pursell started with an uptempo 'Paper Moon'. 'It Had to Be You' had a nice, happy feel to it. Higgins' sax was featured on this one. 'When I Fall in Love' was more mellow and Pursell sang beautifully, aided by a lyrical solo from Martin. Other memorable tunes included 'Almost Like Being in Love', 'Watch What Happens', and 'I Hear Music' closed out an enjoyable evening of jazz.
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