There's much to like on this outing - tracks like, "East Of The Sun And West Of The Moon," Cole Porter's "De-Lovely," and the Mercer Arlen "Out Of This World." Jay Epstein on drums, Michael O'Brien on Bass, Tanner Taylor (is very good) on piano, and a turn by Steve Roehm on Vibes (on "Daydream") round out a very competent group. But ultimately, it's all a frame for Ms. Rosholt, her excellent voice, and wonderful phrasing. And she delivers.
John R. Lindermuth, Rambles.net
For those who love jazz standards of the 1930s and '40s, this self-produced album offers a treat. Christine Rosholt combines a great voice, charming attitude and presence to breathe new life into a baker's dozen of old standards. She has an expressive, clear voice and a warm, engaging style. Even on a CD without seeing her on stage, you can tell she really enjoys singing.
Alan Bargebuhr, Cadence Magazine
Ms. R's voice is a pleasingly transparent soprano. Ms. R's best track is "Sometime," on which, she sounds as convincing as she does anywhere on the album.
Bruce Von Stiers, BVS Reviews
Christine has a new album out titled Detour Ahead. It was produced in part by Christine. The album features Christine on vocals, Jay Epstein on drums, Michael O'Brien on bas and Tanner Taylor on piano. There is also Steve Roehm on vibraphone and Robert Everest does some vocals and guitar on a song. Christine starts out the album with East of the Sun, a Brooks Bowman tune. This song has been around since the 1930's. Christine does justice to the song with smooth and breathy vocals. Then she gives a stellar performance on Johnny Mercer's Early Autumn. Christine Rosholt, with this album, is well on her way to becoming a top drawer jazz vocalist.
D. Oscar Groomes,
O's Place Jazz Newsletter
Christines voice is very pleasing and easy to listen to. She sings 13 newly arranged standards. Rosholt loves to entertain and you will feel her energy in these songs amplified by the musicians behind her. The light bossa nova feel of No More Blues is delightful. We also liked the energy of You And The Night And The Music and From This Moment On but the entire CD is very good.
Sue Ballas, Live Music Report
Rosholt has a quality jazz bar feel. Her voice has expression and Im sure her personality adds to the live shows. You can feel her warmth and her enjoyment of these songs. This is a great CD to introduce friends to jazz. This is a great CD to listen to while relaxing or reading the paper on a Sunday afternoon.
Paul Blair, Hot House Magazine
NEW AND NOTEABLE
Adam Greenberg, All Music Guide (AMG)
Her phrasing is excellent throughout, letting the words fall just when they should. Her tone is largely upbeat, which works extremely well for some of the Cole Porter pieces and others.
Eric W. Saeger, The Hippo
Jazz chanteuse Roshalts control over the two-maybe-three octaves she bubbles throughout Detour is hypnotically relaxing in precisely the tradition shes aimed for, a puttering 30s/40s sass-fest that could get through the dusty-vinyl detectors with barely a hitch, save, of course, for the no-skin-pore-left-uncounted digital microscope under which it was recorded. Without clipping her words, forgoing subtlety or American-Idolizing things into a sterile hunk of polyunsaturated bosh, Roshalt sheds all modern bloviation and makes em like they used to, wasting no time before taking on Why Dont You Do Right-era Peggy Lee in a pure-silk version of Brooks Bowmans East of the Sun. At that point and throughout, youre transported to a ruminative, cell-phone-free clime cooled by a bulky fan perched on the windowsill, her elegant backup quintet keeping pace while serving to support and occasionally goose her. Keyboardist Tanner Taylor has his own moment or two, particularly in the Hammond-driven Honeysuckle Rose.
Dan McClenaghan, All About Jazz
Twin Cities-based vocalist Christine Rosholt comes from a theater background, but her debut CD, Detour Ahead, shows that she can take a side road and turn it into a very appealing main thoroughfare. The set's atmosphere is elegant and a bit sassy, with Rosholtin front of a crack band that really knows how to swingdisplaying sharp articulation and a clear, clean tone from the Ella Fitzgerald school of jazz vocals. The set opens with style on the familiar standard East of the Sun (and West of the Moon), where Rosholt eases her cool vocal into a piano trio arrangement that features a jewel of a piano solo from Tanner Taylor. Johnny Mercer's Early Autumn shifts the tone into a higher gear that has the band bouncing and Rosholt's voice cutting through sweetly. It's hard to take your ear off her easy phrasing and subtle shifts in inflection, but again Taylor sparkles with a style that compliments Rosholt's vocals perfectly. An interesting addition here is Antonio Carlos Jobim's Chega de Saudade (No More Blues). Rosholt's delivery, in English, is crisper than the normal bossa nova mode, before vocalist/guitarist Robert Everest takes a turn in Portugese, with the hushed and slightly fuzzy intonation usually associated with the bossa sound. The title tune, a melancholy ballad with an achingly beautiful, no-frills vocal by Rosholt, is another highlight. The set also features You and the Night and the Music; a couple of Cole Porter tunes, It's De-lovely and From This Moment On; Daydeam, from the Strayhorn/Ellington songbook; I Cover the Waterfront, Bye Bye Blackbird, and an unusual take on Fats Waller's Honeysuckle Rose with a B3 organ in the mix, giving the tune less of the traditional rollick, more of a cool flow. A fine debut by vocalist Christine Rosholt.
Michael P. Gladstone,
All About Jazz
There is a lot to like about vocalist Christine Rosholt, who's based in Minnesota's Twin Cities region. On her debut album, she displays a good jazz sensibility on thirteen time-tested tunes. The album begins promisingly with an easygoing East of the Sun and continues with the rarely heard Johnny Mercer lyrics to Woody Herman/Ralph Burns' Early Autumn. One of the highlights of this session is a presentation of the first-wave bossa Jobim classic Chega De Saudade (No More Blues), where guitarist Robert Everest joins her instrumentally and vocally with a poignant Portuguese duet. More good news follows with the inclusion of the ballads like the title tune, Detour Ahead, and the Strayhorn/Ellington piece Daydream, with a fine vibes solo from Steve Roehm (his only appearance on the album) and a bass solo from Michael O'Brien. Also commendable is Rosholt's version of the Green/Hayman tune I Cover the Waterfront. Anyone who has the good sense to include the timeless Sergio Mihanovic composition Sometime Ago deserves special mention. Throughout the album, Rosholt receives keen support from pianist Tanner Taylor, who also switches to Hammond B-3 to add a bit of color to Honeysuckle Rose.
A finely textured voice and a superb ensemble are what makes this recording work in grand fashion. Christine Rosholt has all the important ingredients that a vocalist needs. She sings in tune, enunciates clearly plus nice phrasing. "East Of The Sun" An Errol Garner like solo by pianist Tanner Taylor and a fine interpretation by Rosholt create the mood and the artists do the rest in making this song delightful on the auditory senses. "Early Autumn" This classic and its extraordinary melody are performed
brightly and Christine Rosholt swings it to the max. Jay Epstein on drums embellishes the piano solo with discreet accents, much to my satisfaction. There is splendid artistry on this CD and your ears will be amply rewarded.
My Kind of Jazz
Another new named vocalist who grabs you from the first track and doesn't let go. Strong backing by the band who do not overpower.
J Sin, Smother Magazine
In today's music world, Michael Buble is a standout with his flashback to the glory days of Sinatra and the Rat Pack. Christina Rosholt is quickly going to be accepted as the female version of that same movement. Her vocal jazz stalwart album "Detour Ahead" is a seminal look at uptempo vocal jazz that for a while felt almost forgotten even in the Big Apple let alone the Twin Cities which she calls home. Vibrant vocals that cull you inwards while the light percussion, groovy bass, and perfect piano playing unleash their magic.
Stober, EJazz News
The ability to perform live or recorded is a gift, rich in exhilaration, warm in accomplishment. To have that experience afforded one is an event in of itself. So describes the eclectic tones of Christine Rosholt a vocalist who in 2006 debuts with her Idea Dog Productions release of Detour Ahead. In some way this effort is multidirectional and allows for a subtle yet effervescent audio journey. Each solo exhibits individuality with added surprises within each cut. For example, be subjected to if you will guitarist Robert Everests dramatic string arrangement with added vocals to bond with Ms. Rosholt in Chega de Saudade, a wonderfully vibrant slant. Embrace not only the vocals but also the sounds of the vibraphone artistry of Steve Roehm; many times he enhances the beauty of sound and voice. For those who enjoy the vocal talents this young lady is enchanting and brings out the best in jazz One can get excited as Ms Roholts future starts unfolding its master plan. In the mean time plan her spins at your leisure on a regular basis!
Sheffo, Fulvue Drive-In
With a really fine singing voice, Christine Rosholt goes for it on some Jazz classics with her new album, Detour Ahead. All are remarkable in that they do not drag on, do the same thing everyone else who has covered them has done (i.e., predictable by-the-numbers cover cuts) and yet they all stay original and traditional. How? Rosholt has an advanced vocal phrasing capacity that has her singing in, around and all over the sprightly arrangements, actually bringing new life to some truly great works. Tracks 3 & 9 are Cole Porter classics, the kind that tend to particularly get butchered, but her vocals manage to show a real love of the works and give them a new life as if she was one of the first to ever sing them. The PCM 2.0 16bit/44.1kHz Stereo is a pleasure to play back, from Rosholts vivid vocals to the musicians who somehow mange to keep up with her.t is not easy, while the overrated Honeysuckle Rose and of-covered Bye Bye Blackbird also get top rate treatment. Between the singing, playing, arranging, ing, en
Tom Surowicz, Minneapolis Star-Tribune
The hardest-working, most bubbly new jazz singer in town, Christine Rosholt knows how to do a CD party right, flying in bassist Michael O'Brien from his new home in New York City and inviting special guests (guitarist/singer Robert Everest, vibraphonist Steve Roehm). She acquits herself nicely on her long-awaited debut, "Detour Ahead," which proves that late bloomers can still be musical ingenues, that old songs can sound fresh with a tweak or two, and that romance and playfulness are always in season.
Christine Rosholt: On the Right Path With Detour Ahead
On the bandstand, Christine exudes enough warmth and charm to enchant even the most reluctant audience without singing a single note. An audio recording is another matterthe singer must engage the listener solely through her voice and choice of material. Detour Ahead succeeds on both counts. Through her voice alone, Christine creates that same invivo allure, while the diversity of her playlist givers her a wide stage from which to cast her spell. The magic here is less a function of sleight-at-hand twists of melody or rhythm than of more subtle shadings of tone and inflection that nevertheless give each track Christines personal imprint. The vocal story line remains true to the plot yet gently tugs and pulls at your senses along the way as Christine explores both time-honored classics and lesser known covers. Perhaps her early involvement with the Childrens Theater and subsequent stage experience give Christine an edge in selling a song, even such Cole Porter chestnuts as From This Moment On and Its De-Lovelysassy and brassy, it is Christine who is delightful, delicious, de-lovely. With her dramatic flair, the well-worn Honeysuckle Rose takes on the bubbling seduction that Fats Waller surely intended, while a sweet sincerity permeates Early Autumn, Some Time Ago, and I Cover the Waterfront. The title track seems emblematic of the entire projectlisten as her phrasing pulls you into intimate conversation; Christine is right there in your living room, surrounding you with the sensual energy and vibrant imagery of live performance.
Susan Gurock - KMHD, Portland
I think that she is great and I also really like the musicians that are backing her up. They seems to have a wonderfully simpatico relationship and their song choices are perfect for my straight ahead jazz show.
Heckler, Minneapolis St. Paul Magazine
Christine Rosholt's new album is a detour worth taking. Her voice shines in her unadorned interpretations of the songs. This mix of classic and lesser known songs is refreshing and speaks well for the album.
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