Ellynne Plotnick is a client of Kari On Productions Publicity Services

Ellynne Plotnick
www.ellynne.com

Accolade Highlights

Nicky Rossiter, Rambles.net
I Walk Alone is a laidback offering from Ellynne Plotnick, a wonderfully talented performer. From the initial "Small Day Tomorrow" right through to "While We're Young," it oozes sensual singing that conjures images of soft lights, piano, a glass of malt and a lovely lady in an evening dress effortlessly pouring out emotion through lyrics. She combines her own compositions with those of others in a magical mix that will mesmerize the listener. The track "Chair Song" is fascinating. How many songs have you heard about that humble but essential piece of furniture? "Don't Blame Me" if you put this album on the deck and forget to collect the kids, call your lover or go to work. I love her take on this song. Plotnick may be the singer who converts you to easygoing jazz in this frenetic world.

John Henry, Audiophile Audition
Anyone starting off with Bob Dorough's delightful Small Day Tomorrow is sure to get my attention. Plotnick has an attractive voice and delivery with a lot humor to it. She wrote half of the dozen songs herself or with her pianist, and also contributed to the arrangements. Her Chair Song is exactly that; you don't find a lot a songs about chairs. She delivers a touching spoken introduction over the music to Alex Wilder's lovely While We're Young to close out the CD.

Adam Greenberg, All Music Guide
The sophomore release from songstress Ellynne Plotnick shows off some interesting phrasing, some nice vocals, and some very impressive composing abilities. The album opens with Small Day Tomorrow, a nice showcase for Plotnick's phrasing, which is very nearly spoken word in its approach. The tone of her voice is excellent, and the way she chooses a note also good. The delivery comes out reminiscent of the great disaffected singers and songs, normally related to a broken heart. Here, it's applied to happiness and loneliness alike. When Plotnick moves to her own songs (written in combination with able pianist Dan Furman), the ability to craft a fine verse becomes apparent. There is a reverence for the old bop masters (along with some basic scat from time to time, there are references to Salt Peanuts, among other things), and a tendency to play with the lines a bit. A similar approach is taken to the classics of the songbook (Cole Porter, Washington & Young). Overall, Plotnick proves that she has some fine skills here.

Phillip McNally, Cadence Magazine
Ellynne Plotnick sings with a great alto voice through a half dozen standards here, as well as that many more of her own clever compositions. In concept, Plotnick brings to mind Bob Dorough and Dave Frishberg, though she fields a much more attractive voice iwth broader range they they do. The recording ends on a particularly poignant note, as she covers wonderfully the too little used Alec Wilder tune, "While We We're Young." This is a strong recording by a fine new singer, with both talent and taste.

Sue Buellas, Live Music Report
Plotnick has a jazz standard voice but her greatest talent seems to be in writing and arranging music. With pianist Dan Furman, as well as in her own right Plotnick, creates melodies that catch you and are complemented with strong lyric writing. They have something of the standards of jazz of the past but carry a contemporary feel. “The Absence of Light” is one of the best examples of their talents. For a little fun, listen to the “Chairs Song”. Ellynne Plotnick sings “My Foolish Heart” beautifully and articulates the words so delicately. “The Sun Shines Somewhere” is a melancholy song that is perfect for a rainy day such as the one I am experiencing right now. All that would be needed is a fireplace, a broken heart and a good bottle of wine. She shines on “Illusions” and “Don’t Blame Me” (complete with ska). All in all, I Walk Alone is a fine addition to anyone’s CD collection. It’s not all sad or happy but a mixture perfect for any mood.

Bruce Von Stiers, BVS Reviews
Ellynne has been described as a self-styled vocalist who mixes classic jazz with “the experimental and unexpected.” I would agree with those assessments of Ellynne. Her music is rooted in old school jazz but has more of an edge to it. The vocals are strong with some very good background music. Ellynne picked three talented musicians to back her vocals. Dan Furman played the piano and did some of the song arrangements. Tom Pietrycha played the bass and Yuji Nakamua was the drummer. Along with doing the vocals on the album, Ellynne also set some of the song arrangements. The first song on the album is a hip, yet earthy rendition of the Bob Dorough / Fran Landesman tune, Small Day Tomorrow. Ellynne draws out some of the lyrics for a sultry, whispery appeal. This is one of several songs on the album that were recorded live at the Triad Theater in New York City in October of 2005. Next Ellynne tackles the Robin & Rainger song, If I Should Lose You. This is a song that had been done by both Frank Sinatra and Nina Simone. Now Ellynne adds her own little touches to the song. This is a great subtle torch song. The third song on the album was penned by Ellynne and Dan Furman. This one is called Absence of Light. It reminded me of some of the soundtrack music from late ‘60's dramas. The title track, I Walk Alone, is also an original composition from Ellynne and Dan Furman. It has some great piano backing the vocals. Ellynne gives the listener a couple of different vocal ranges in the song. It is moody, yet has some light and breezy movements. A fun original song is Chair Song. This live tune has Ellynne singing about her jones for chairs. She likes all kinds of chairs and Ellynne lets us know all about this addiction. A particularly good cover is for Cole Porter's Get Out of Town. Ellynne puts a lot of energy and heart into this song. With several original compositions, I Walk Alone showcases Ellynne's songwriting talents well. And with the arrangements that were made on the other songs on the album, the listener is treated to a slightly different kind of jazz than they might have been used to. You will hear some of those “experimental and unexpected” elements in the music on this album.

Mark Amentt, Jazz Improv NY
I Walk Alone presents her pleasing vocal style with a wider variety that showcases her warm and sensitive approach with a tongue in cheek, almost beatnik vibe on tunes such as the original composition “Chair Song.” This works particularly well on the five live performances recorded for this CD. The accompanying musicians on this disc did a fine job of complementing the vocal vibe. Dan Furman should be applauded for his feel and overall contributions as a pianist accompanist and co-arranger. It’s clear that he has studied his craft well to be able to add so deftly to Ellynne’s vocal approach. The rest of the rhythm deserves mention as well. Tom Pietrycha and Yuji Nakamura are clearly exceptional musicians. Ellynne combines original compositions along with a direct approach to some notable standards. Two of the standards, “If I Should Lose You” and “My Foolish Heart,” showcase Ellynne’s ability to confidently present the tunes in a classic fashion. On the title cut “Small Day Tomorrow,” the textures laid down behind the vocal from Dan Furman and Yuji Nakamura along with a haunting arco entrance by Tom Pietrycha on upright give this tune a particular feel that I had not heard on other versions of this composition. “Don’t Blame Me” opens with a very tasty upright bass accompaniment that sets up one of many fun and inviting tempo changes found throughout the cut. Ellynne really gets a chance to put her stamp on this one. “Get Out of Town” and “While We’re Young” have a combination of cabaret and jazz styles that make for a few nontraditional but very interesting surprises. The original compositions have a writing style that is sometimes diverse in style while managing to hold onto traditional jazz standard values. On “Don’t Misunderstand Me” you get the impression that you’re already familiar with tune. Presented here as one of the live cuts, it’s a well-crafted number. Other original compositions, such as “The Absence of Light,” “Illusions” and “Uncertainty,” tip their hat to many of the styles and grooves that you’ll find in the more well known book of jazz standards. The more I listened to the disc the more I enjoyed it. I found it to be fun, quirky and a very worthwhile presentation of what Ellynne Plotnick can really do and I’m looking forward to hearing more.

Donna Kimura, Jazzreview
On I Walk Alone, the sophomore release from Ellynne Plotnick, the jazz vocalist delivers a collection of original tunes and some well-chosen classics. Plotnick is accompanied by pianist Dan Furman, bassist Tom Pietrycha, and drummer Yuji Nakamura. This small, low-key combo make the album a cozy, intimate affair. It also allows for plenty of room to experiment. This is apparent from the start as Dorough and Landesman’s “Small Day Tomorrow” opens the album. It’s a strong choice that showcases Plotnick’s cool style. Her unhurried delivery and thoughtful pauses add drama to the already moody number. Nakamura’s percussive accents provide interesting tension to the song, creating the feel of an approaching storm. The band works hard to create different emotions. “Chair Song” is one of six Plotnick originals, with Furman having co-writing credit. The song is a quirky number, delivered in a style that’s part singing, part talking. As a result, it has a cabaret feel. “I’m addicted to chairs,” sings Plotnick. “I need my fix of cool places to sit.” The song is fun, but the arrangement avoids being frilly. Plotnick delivers the punchlines, but the band serves as a well-timed and serious straightman, setting everything up. Plotnick straight man also puts a fresh spin on Cole Porter’s “Get Out of Town” (aka “free-jazz, Afro-Cuban freak out”). Here, the Connecticut native and her band create a tense five minutes as they play with different rhythms. Plotnick's Cuban freak out tries some wordless vocals during one stretch. Because I Walk Alone has more than the typical well-traveled standards, it is recommended for listeners looking for something new and different.

Glenn Astarita, All About Jazz
This intimately rendered jazz vocal affair would seem to fare rather well at an upscale New York City hotel lounge, and some of these tracks were recorded live at a New York City theater. Ellynne Plotnick and her quartet mix it up rather nicely with a blend of standards and originals. Plotnick receives sympathetic support from her jazz piano rhythm section as she performs a potpourri of brisk swing grooves and sultry love ballads. The singer works the crowd with her witty lyricism, upbeat vibe, and joyous overtones. She also uses wonderful diction to complement her silky vocal chords and acute dynamic sense. These days young female vocalists seem to crop up faster than weeds growing out of concrete. But Plotnick’s style and delivery loom as a high point, especially considering many of her peers who seem satisfied to rummage through the tried and true.

Michael P. Gladstone, All About Jazz
Ellynne Plotnick's second effort contains a dozen tracks, half of which are written, or co-written by the artist. Plotnick's singing style comes mostly from Sheila Jordan. The album starts well on the Bob Dorough/Fran Landesman piece “Small Day Tommorrow,” a favorite of cabaret and ballad singers, with a downtempo delivery. The following song, Ralph Rainger's “If I Should Lose You,” is a well-constructed ballad with Plotnick bringing out the sense of love expressed by the lyrics. Likewise, her version of the Washington/Young classic “My Foolish Heart” is well-delivered, as are the final tracks on the album: “Don't Blame Me,” “Get Out of Town” and “While We're Young.”.... “Chair Song,” a humorous take about the obsessive seeking and collection of jazz memorabilia and chairs, is the best of the bunch.

D. Oscar Groomes, O's Place Jazz Newsletter
4/4 Stars
Plotnick’s voice is welcoming both live (at the Triad Theater in New York) and in the studio. She partners with a trio lead by pianist Dan Furman to perform twelve, mostly new songs. “Don’t Blame Me” features a cool scat interchange with drummer Yuji Nakamura. This is an exciting session highlighted by “The Absence of Light”, the bouncy “I Walk Alone” and the funky “Get Out Of Town”. Top shelf!

Eric W. Saeger, Hippo Magazine
Ellynne shines on her own torchy compositions... [Her] versions of Don't Blame Me and Get Out of Town spotlight her impressive scatting abilities while granting the band, an understated, piano-oriented three-piece, opportunities to make mama proud...

Paul Blair, Hot House Magazine
NEW AND NOTABLE

TAXI Magazine
Good, well written, cohesive music with structure. It makes me want to hear more, and the vocals help to sell the song...I'm impressed by the strong soulful vocals and the wonderfully full character of this radio ready recording. This artist in the contemporary jazz genre, will most likely appeal to the same audience that goes for Diana Krall, Madeleine Peyroux, Norah Jones and Laura Nyro. Keep up the good work.

Carmel DeSoto, Jazz Police
The jazz genre, perhaps best known for its complex rhythms and high level of musicianship is not regarded as a genre to look to for witty cutting edge lyrics. Of course the lyrics of the great American song book have stood the test of time. However, until recently one had to dig deep to find clever lyrics in the bop and post-bop era, if you have ever heard the lyrics to such gems as “Tune Up,” “Straight No Chaser,” “All Blues, “I Remember Clifford,” and “So What,” then you will know what I am talking about. The melodies are memorable, but the lyrics leave the listener preferring the instrumental version.

This is changing thanks to the recent trend of writing lyrics to well known bop and post-bop tunes, like Carmen McRae’s, Carmen sings Monk, Kurt Elling’s release of Man Up In the Air and Karin Allyson’s Footprints. The genre is also starting to enjoy the sounds of not only talented composers and players, but talented lyricists. Yes, lyricists, I bet you have not read that word in too many jazz reviews. On the top of the stack of this emerging trend is composer and lyricist Ellynne Plotnick.

Plotnick, a native of Connecticut, finds inspiration from her environment and experiences to convey inventiveness and lyrical creativity in this collection of original and standard compositions entitled, I Walk Alone. Plotnick’s clear articulation, soulful phrasing, and heart-felt lyrics are the cornerstone of this successful project.

“I don’t have to go to bed, I’ve got a small day tomorrow,” sung by Plotnick’s warm mezzo soprano voice sets the dark edgy mood for the first cut, “Small Day Tomorrow.” From the dark hued opener the listener is segued into a fun piano and voice duet with Plotnick and pianist Dan Furman on “If I Should Lose You.”

Plotnick visits a wide variety of styles and emotions through the journey of the CD and the band does a great job of framing and matching the emotions of each of the story lines. The band provides a fun environment swinging hard with interesting hits on “Don’t Misunderstand Me,” followed by the introspective Latin scheme of “Illusions.”

The CD is a welcome addition to the jazz catalog and will enhance any listener's collection whom enjoys a good song delivered with honesty and emotion. The witty lyrics and organic delivery Plotnick brings to the experience is a refreshing change from the mainstream vocal standard albums.

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Ellynne's CD goes to #2

J Sin, Smother Magazine
Great vocal jazz albums aren’t a dime a dozen anymore. It’s a shame for sure but when one comes along you know to hold on to it dearly. Ellynne has a powerful voice and she also helps with the song arrangements so she’s no one talent monkey that’s for sure. Smoky melancholic tales that just drip from her mouth with an efficacy that’s unparalleled. Absolutely astonishing.

Nicholas Sheffo, Fulvue Drive-In
Ellynne Plotnick is yet another of a growing number of Jazz vocalists releasing their material on their own on CD without the help of the majors. I wondered if this was a sign that the major labels are too busy with other things to allow Jazz to thrive where it should. The number of fine indie releases we have covered since the site went up makes us all here wonder if that at least has some validity. I Walk Alone joins that list. The Cole Porter track (#11) is particularly interesting by trying to be and not be like a Porter cover. You have to hear it to understand what I mean, but trying to forge an individual identity here in Jazz is not easy, so I understand she is trying something different and it is a set of risks that pay off more often than not.