Patty Cronheim

Patty Cronheim’s is the sort of jazz conquest you can’t help but admire. Though she’s been singing since childhood and gained some professional experience with an a cappella group, Cronheim started as a nutritionist and physiologist, dedicating her days to helping those afflicted with eating disorders. She has also raised two children on her own, yet has still found time to hone her music skills, paying her dues with an endless stream of wedding, bar mitzvah and corporate gigs before hitting clubs and restaurants.

At last, with the release of her debut CD, a wider audience can experience her estimable pluck. Her voice is like crushed velvet, enticingly scorched at the outer edges, and her laidback delivery echoes the earthy genuineness of two exemplary, second-generation stylists, Monica Mancini and Carolyn Leonhart. She fully captures the languid sensuality of “Summertime”; her “Bye Bye Blackbird” shimmers with familial warmth; and her soft-swinging reinterpretation of Stevie Wonder’s “Superstition” is a marvelous study in furtive craftiness.

The seven remaining songs are all Cronheim originals. Two—the cuddly “Stella by Sunlight” and the playful “Doggone Blues”—are literally pet projects, dedicated to her golden retriever. “Estando Aqui,” its lyric shaped with assistance from a Brazilian pal of her daughter’s, is a simple, lovely ode to gratitude. “Don’t Work Anymore” is gutsy and forthright, and “I Feel the Heat” drips with sinful desire. “Made for Love” explicates the intense splendor of hard-earned romantic contentment; then the title track inverts the sentiment with its wistful examination of profound love lost.
- Jazz TImes

Patty Cronheim
www.sonicbids.com/PattyCronheim

Skope: What does it mean to be included in A2W on Skopeing.com?
It’s an honor to be selected in such wonderful company. I”m so pleased that you all like my music and am grateful for the opportunity to gain more exposure for my new album, “Days LIke These”. As a jazz artist, it’s especially nice that Skope is inclusive in it’s choice of music to cover. I, like many people, love all kinds of music. it’s great to see various genres covered together in one magazine!

Skope: How did your family & friends support you to pursue music?
Patty Cronheim: My family has been very supportive… carrying equipment, not complaining about my absences at family events when I”m gigging, talking all their friends into coming out to hear me. They don’t seem to mind if they show up in my lyrics either! My parents, husband, and children are my biggest fans. They always encourage me to keep going, keep writing, and to believe in my music. I don’t know what I’d do without them.

Skope: What is the most exciting technology that has benefited the music industry in the last 10 years?
Patty Cronheim: Well… if you’d asked me 500 years, I would say the graphite pencil. I can’t function without one. In the past 10 years I would say it’s the internet and the ability it provides to share music and charts with the public and other musicians. Close 2nd and 3rd for me would be music notation software and portable PA systems I can carry myself to gigs… I’m pretty small.

Skope: Would you agree that the music business is recession proof in that good music will sell no matter?
Patty Cronheim: I do believe that all good music will sell, regardless. However, I think that Illegal downloading hurts musicians more than a recession in terms of record sales. In terms of live performances, which for many struggling musicians is their main income source, I think it’s harder for venues to have the revenue to pay artists to perform in a recession. That leads to less opportunities to gig.

Skope: At what point in the day do you find you are most creative?
Patty Cronheim: For composing, the morning is the most creative time for me. I wrote a lot of “Days LIke THese” then, During that dreamy time between waking up and actually getting out of bed, melodies and lyrics often come to me. I keep a pencil and paper on my night stand so I can write down the ideas. Morning walks can also be a creative time. For performing… night time is the best. I love singing in dark clubs with lots of atmosphere.

Skope: What is coming up for you and where can readers learn more about you?
Patty Cronheim: I’ve just finished CD release parties for “Days LIke These” and I’m currently writing my next album and hope to have it ready to record in 2011. I’ve just started playing some of the brand new material out… It’s looking a little more crossover than straight jazz/blues. We’ll see!

All information about me can be found on my web site: http://pattycronheim.com/ and of course on my Sonicbids EPK: http://www.sonicbids.com/epk/epk.aspx?epk_id=143934 - Skope Magazine

CD Review of Days Like These
By Woodrow Wilkins
It started during a sing-along in the family car; little Patty Cronheim broke into harmony. The seed was planted, and now the vocalist is in full bloom. Drawing from a variety of influences in pop, jazz, blues and South American styles, Cronheim has released her first recording as a leader, Days Like These.

Cronheim has opened for Ray Charles, and performed some of her original music on television's Jane Pauley Show. She's a frequent guest of the Princeton University Jazz Ensemble, and has played around the northeastern United States.

"Estando Aqui," one of seven Cronheim originals, is a lively samba, with English and Brazilian Portuguese lyrics, delightfully backed by the rhythm section. In English, the title means, "Here I Am."

"Don't Work Anymore" is reminiscent of the Frank Sinatra/Mel Tormé style of swinging jazz vocal. Cronheim sings, "Can't believe all that I hear, it's only thunder in my ear, trying to make me disappear. Just don't work anymore." Trombonist Clifford Adams and tenor saxophonist Greg Wall solo Brian Glassman's cool bass line, supplemented by pianist Aaron Weiman and drummer Corey Rawls, who are all but muted; softening the backdrop to a bass solo that sets up Cronheim's return.

The band delivers a blues-jazz rendition of Stevie Wonder's "Superstition," where Cronheim employs some subtle inflections as she shifts from verse to chorus. After the final verse, Cronheim and band build intensity before closing this selection.

Although Cronheim does dip into The Great American Songbook, it's refreshing that the session is comprised mostly of original songs. At times, it seems is if every up-and-coming artist must do songs like "Summertime" and "Bye, Bye Blackbird." But Cronheim's treatment of "Superstition" takes a few, bold steps off the beaten path. And the fact that she does it with an arrangement by Rawls keeps it fresh, and helps set Days Like These apart from typical vocal debut recordings. - All About Jazz

PATTY CRONHEIM
DAYS LIKE THESE – Say So Records

PERSONNEL: Patty Cronheim, vocals; Aaron
Weiman, piano/Rhodes; Brian Glassman, bass;
Corey Rawls, drums; Greg Wall and Audrey Welber,
saxophones; Clifford Adams, trombone.

By Bob Gish
As vocalist (and composer of seven of the re-
corded tunes), Patty Cronheim has a way with words,
and melody too, of course. She leads off in Portuguese,
establishing her fluency in that romance language,
filled as it is with trills and tongue twists. “I am here,” she
announces and so does her band, especially Clifford
Adams with his trombone solo, the first of many, on
the first cuts. Cronheim and company are all here to
play, no hesitations, no regrets. They get it on and so
must listeners, get this CD on i-pod or stereo ASAP.

Stella by Sunlight follows suit, not as a burner
so often associated with the tune’s nocturnal cousin,
but as a ballad, with lyrics and tonality more condu-
cive to beach front reveries and observations. Adams
chimes in here too with muted trombone, underscor-
ing the softness of the treatment. Stella in the morn-
ing light is hardly a fright – more a sight to behold
with Ipanema sighs.

Another Cronheim composition like Stella is
I Feel the Heat--a similar track, body heat and corre-
sponding climatic zones, encapsulating the passions of
enticements not always realized. Greg Wall’s soprano
sax intensifies the trembling temptations of the lyrics.
His solo is alluring in a kind of Pied Piper fashion add-
ing to the exoticism and the eroticism of the tune.

Drummer Corey Rawls’ arrangement of Stevie
Wonder’s Superstition is about as slickly jazzy as one
can get, adding a new understanding of the poten-
tial of Wonder’s genius. You couldn’t hope for a more
imaginative envisioning of the now classic tune.
Don’t Work demonstrates Cronheim’s ways
with the blues and the tones of a larger ensemble of
instruments. She’s groovy, and, wouldn’t you guess
it, so is Adams who pretty much monopolizes lead
in solos on the early cuts (not to complain). Wall bel-
lies up to the trough on this track and shoves Adams
aside for a bit in a welcome wailing sax solo.
Then Brain Glassman takes his turn showing his
proficiency and bluesy prowess on the double bass.
It all blends and builds back toward Cronheim’s
final chorus with everyone chiming in behind her.

Ah, the Fender Rhodes, that incomparable inven-
tion so suitable to that Woodstock feel of the always
moving, lazily loving Summertime, which as done here
is the one indispensable rendering of the lot.
This track could hold its own as a single release. Audrey Welber is in-
spired and at one with the groovy-ness of Aaron Wei-
man and his Rhodes. Glassman again asserts himself,
not as a kind of tagalong but as an essential ingredient
to the cause. Put them all together and it’ll all give you
goose bumps of poignancy and pleasure.

The cut to match it, or almost so (if such choices
must be made) as a kind of up-beat, scatting book
end, is Bye Bye Blackbird, that whining announce-
ment of being misunderstood but determined to
be wanted. Corey Rawls says as much with sticks
and skin, so light the light for him and the sidemen
Weiman and Glassman. Cronheim avoids any pri-
madonna sense of regarding the group as merely in-
cidental to the vocals. Just chalk it up to a feeling of
Team Cronheim, and do so boldly. So get out the sun
block , the cooling beverage, and the fans, Cronheim
Days Like These is hot, sultry stuff.

- Jazz Inside NY

When Tony Branker, conductor of Jazz Studies at Princeton University, first heard Patty Cronheim sing, he immediately included her in several concerts at the university. Branker knew she was something special and as a result Days Like These was born, produced by Branker, the album is Cronheim's professional entrance into the realm of recorded jazz. Singing since she was ten years old, Cronheim has since honed her skills doing the wedding/Bar Mitzva circuit then when on to a larger stage by opening up for the late Ray Charles and has appeared on NBC's Jane Pauley show. Except for covers like “Summertime,” Stevie Wonder's 'Superstition,” and the jazz standard “Bye Bye Blackbird,” Cronheim offers seven new and delightful original compositions on this debut release—all supported by wonderful instrumentals making this first effort a pleasure to spin often.



Combining a soulful mix of jazz, blues and Latin influences through out, Days Like These has plenty of swinging material to enjoy. Cronheim herself contributes to the experience with her seductive vocal style and displays a knack for the Latin stuff with her opening “Estando Aqui” voiced in Portuguese, a language the lady does not really speak, was penned with the help of a friend and conveys, the statement “Here I am and I'm grateful to be here with you.” “Stella By Sunlight,” is beautiful ballad assisted by pianist Aaron Weiman and Clifford Adams on the trombone, another original written for her Golden Retriever recovering from an illness. One of the outstanding pieces that bring out the fine instrumentals on this album is the sprite “Don't Work Anymore.” On this track Adams, tenor saxophonist Greg Wall and bassist Brian Glassman take turns on center stage each providing sparkling solos.

“Summertime” is the first cover to be heard and here Cronheim does a marvelous job on vocals pushing a lush arrangement and delivering a fine rendition of the number along with a little help from Audrey Welber who provides a burner of a solo on the alto saxophone. Stevie Wonder's familiar “Superstition” comes across a bit on the slow but that's just how the arrangement works, turning the pop classic into a jazz highlight. The Blues are alive and well here as Cronheim's original “Doggone Blues” will have you snapping your fingers to the beat. Another
not-to-miss track is the lovely and hot piece “I Feel The Heat,” just listen to the romantic lyrics and you will know why this number evokes a little passion.

The music rounds out with moving love song “Made For Love,” the soft textured title track and ends on the swinging version of “Bye Bye Blackbird.” With a tender vocal approach, stellar charts and superb instrumentals, Patty Cronheim makes a strong and convincing musical statement with Days Like These, a charming light jazz vocal debut bound to impress the critics.

Year: 2010
Label: Say So Records
Artist Web: www.pattycronheim.com

- EJAZZ News

Patty Cronheim – Days Like These – Say So Records – SSR-9 ****½:

(Patty Cronheim – vocals; Aaron Weiman – piano/Rhodes; Brian Glassman – bass; Corey Rawls – drums; Greg Wall – tenor/soprano saxophone; Clifford Adams – trombone; Audrey Welber – alto saxophone)

All musicians have to pay their dues. In the case of Patty Cronheim, a rigorous self-directed musical education, combined with tenacity and talent has propelled this artist to the precipice of national recognition As a child, she took the obligatory piano lessons, but developed a passion for the music of Sarah Vaughn, Ella Fitzgerald and Muddy Waters, a seeming anathema to her suburban New Jersey roots. But she possessed a soulful distinctive voice that would land her in an a cappella group, and lead her to teach herself music notation. An audition with the Princeton University Jazz Ensemble put her on a path to write and perform jazz.

During an “internship” of playing private parties and private gigs, Cronheim refined her songwriting and instinctive vocal stylings. Her initial release on Say So Records is the culmination of this journey. With the help of a first-rate group of musicians and arrangers, Days Like These is a collection of accomplished jazz, including seven original compositions and three covers.

Surprisingly, the opening track, “Estando Aqui” is a breezy Brazilian number, sung in Portugese, with smooth tenor sax (Greg Wall), and trombone (Clifford Adams) solos punctuating Cronheim’s assured, dulcet toned vocals. A bluesy “Doggone Blues” with a bouncy piano interlude by Aaron Weidman has a playful touch, while “Don’t Work Anymore” swings with a subtle whimsical voice.

The artistry of Cronheim is evident on the sultry, “Made for Love”, as she is able to infuse a soulful melancholic sound, with a diverse singing style, soft and even strained. The title track, a ballad, has an emotional impact, delivered with a gossamer sensibility.

The three covers are interesting. On the classic “Superstition” (arranged by drummer, Corey Rawls), Cronheim breaks away from the funky genesis, and simply “jazzes it up”. “Summertime”, a Gershwin standard that has been covered in nearly every context, maintains a cool sizzle, with electric piano, alto saxophone (Audrey Welber), silky bass line (Brian Glassman) and a leisurely heartfelt vocal, that exudes sensuality. The final track, a scat version of “Bye Bye Blackbird,” gives the band an avenue to exhibit a traditional jazz rendition.

With deftness and passion, Patty Cronheim has announced her arrival with distinction.

TrackList: Estando Aqui; Stella By Sunlight; Don’t Work Anymore; Summertime; Superstition; Doggone Blues; I Feel The Heat; Made for Love; Days Like These; Bye Bye Blackbird

-- Robbie Gerson - Audiophile Audition

WOMEN I N JAZZ Interview with Patty Cronheim - September, 2010

PATTY CRONHEIM
By Joe Patitucci

JI: What inspired you to pursue a career in jazz?
PC: I grew up listening to a healthy dose of jazz and
blues. I remember my parents taking me to hear Sarah
Vaughn in one of her last concerts and being trans-
ported by her voice as she sang an entire concert of
Gershwin. (That’s probably why I put “Summetime”
on Day’s Like These.) I loved listening to all the great
female jazz singers – Ella, Billy, Shirley. Their spirits
shone through the music. Once I began to appreciate
the gorgeously soaring complexity of jazz, I was certain
it was the music I wanted to be a part of. There’s noth-
ing like being on stage and absorbing those glorious
jazz sounds. And, there’s nothing quite like hearing a
people who helped and were enthusiastic about my
project. The term “solo artist” is really such a misno-
mer. There are SO MANY talented people involved
in making music and getting it out to the public! As I
said, it’s all about relationships.
JI: What are the benefits and drawbacks of women
segregating themselves into all-women groups and
endeavors?
song you wrote played live for the first time by wonder-
ful jazz musicians. Talk about joy! It’s quite the rush.

JI: What kinds of eye-opening lessons or understand-
ings about human nature have you gained through
your experiences in the music business?
PC: It’s all about relationships. Good things happen
through forming friendships with people. Maybe I’ve
just been lucky, but all of the musicians and industry
folks I’ve worked with over the years have been real
sweethearts. I’ve heard horror stories about people
getting cheated and musicians flaking out, but that
simply has not been my experience. One of the best
parts of making Days Like These has been getting to
work with my wonderful musicians, designers, and
promotion guys. Every step of the way there were www.pattycronheim.com
“If you only create art to achieve some kind of recognition
or ego gratification, you will never be satisfied. The goals
will just keep getting higher and higher. They real joy
is in loving what you do. Listening at each step along
the way to what makes your heart and voice sing…”
- Jazz Inside NY

...with vocalist Patty Cronheim delivering the lyric of "Willow Weep For Me" with sensitive expression. Patty,is about to release her new CD. She followed with “Fine and Mellow,”a great tune that many vocalists won’t go near.Backed by the rich orchestrations accented by clever solos,it was easy to
fall in love with Patty.

- Frank Mulvaney

"...writing the majority of the material and in the process creating the sorts of songs that sound like "standards" that somehow slipped under the radar for the past 60 or 70 years."
"...She's put together a very satisfying set with a timeless sound."
"...a very warm, expressive voice, a nice melodic sense, and a distinct rhythmic feel."
"...melodies and lyrics that fit her cozy voice like a blanket (or vice versa), a thoroughly developed and artfully deployed jazz vocabulary."
"Patty Cronheim has delivered a winner that's earned a place on my jazz shelf."
- By Jon Sobel

The extraordinary voice of Patty Cronheim is my selection for this month.
Jazz and blues, coming from New Jersey, this music is characterized by a unique style and vibrant, expressing
interpretations of jazz standards, Latin music and blues songs, which with original songs, shows off her sensitivity and versatility.
In listening you feel immediately captured by her voice, capable of arousing strong emotions in anyone.
Her music has the influences of artists such as Shirley Horne, Billy Holiday, Ray Charles, Miles Davis and Big Momma Thorton.
Her career has seen her opening concert of Ray Charles, participate in the Jane Pauley Show and sing along with the great Brazilian composer Guilherme Franco.
And now Patty released her first album, "Days Like These" by which to present her music to the world. - Anakina Musica Review