RITA EDMOND

About

Biography, Rita Edmond - Jazz Vocalist


When she recorded her previous CD Sketches Of A Dream, it was as if Rita Edmond burst upon the jazz scene almost out of nowhere. Her talent was fully formed, she swung at every tempo, gave plenty of feeling to ballads, and came up with fresh and stimulating ideas on vintage material. Now with the release of A Glance At Destiny, she builds on her success, continues displaying her love of jazz, and gives her growing number of fans another reason to get excited. “Once I finally started singing jazz,” she says, “I knew that this is what I had to do, this is what I was put here for.”

Born in Ohio, Rita remembers that she grew up around music, with her close relatives particularly loving such singers as Ella Fitzgerald, Sarah Vaughan, Dinah Washington and Nancy Wilson. When she was only five, Rita sang lead in the junior choir or her church. Her talent was obvious even then. At 15 she began taking lessons from the highly respected vocal teacher Evangeline Stewart. Rita, with her beautiful voice and a four-octave range, was a natural singer, one who could express the deepest emotions through music.

After high school, Rita sang in a variety of settings in such locations as Las Vegas, Nice, Cannes, Paris France, Monte Carlo and Italy. She opened for Cleo Lane and Prince as well. But her other talents dominated for a few years. Rita recorded R&B and Pop demos in Los Angeles for Motown, BET, MCA, EMI Publishing and Warner-Chappell. Behind the scene, Rita wrote and recorded and prodced music for various artists, shows and specials as well as ran her own music label. While she had commercial successes working on other artist's projects, it kept her away from singing the music she loved.

Rita Edmond, decided to return to singing full time in a big way. She quickly became a popular fixture in Southern California area jazz clubs, met lots of musicians, and recorded her solo debut, Sketches Of A Dream. She contributed the arrangements and memorable interpretations to such songs as “Dindi,” “Body And Soul,” surprising medium-tempo versions of “All The Way” and “My Romance,” a dazzling exploration of “Misty” and a heartfelt “Never Let Me Go.”

Rita's new CD, A Glance At Destiny, could have been subtitled “The Dream Continues.” Great care had to be taken to pick out musicians who were not only supportive accompanists but stimulating soloists. Rita utilized two overlapping rhythm sections featuring some powerhouse musicians on this project either; Nancy Wilson’s long time, music director, composer and arranger for Llew Matthews or Joel Scott on piano. James Leary (Count Bassie Orchestra) or Edwin Livingston (Natalie Cole) on bass. Albert "Tootie" Heath of the illustrious Heath Brothers on drums and either Greg Poree or Jacques LeSure on guitar and occasionally tenor-saxophonist Rickey Woodard and trumpeter Nolan Shaheed.

Each of the performances (classic standards plus two of the singer's originals) is worth a close listen for every selection is full of subtle surprises, there are no throwaways, and the renditions are fresh and memorable. “Sunny,” which is transformed into a swinging piece, is an excellent introduction to Rita's soulful vocalizing. She contributes beautiful ballad singing to a very expressive “You've Changed “ and “Gentle Rain.” “Might As Well Be Spring, is a joyful surprise, just listen to her powerful and passionate singing.

Rita Edmond's “In Case You Didn't Know” is a memorable love ballad that could very well become a standard for the 21st century. “It Could Happen To You” and
“'S Wonderful” have been around for many decades but Rita's swinging versions give these songs new life. “ Here’s To Life “ made famous by Shirley Horn, “Easy Living” (associated many years ago with Billie Holiday) has some especially tasteful vocalizing and Jobim's “Triste” is filled with joy. After a hard-swinging “Just Friends” and an emotional “You Don't Know What Love Is,” “This Can't Be Love” gives Rita's musicians an opportunity to stretch out. She concludes A Glance At Destiny by debuting her catchy bossa “You're My Wings.”


Jazz Magazine writes concerning two other songs on the CD “A Glance At Destiny “
“It Might As Well Be Spring” a tried and true standard. Not everyone can do this tune well, because it’s such a jazz staple it’s hard for a singer to put their personal stamp on it, whenever they try, they either over sing or under sing the tune. But Rita swings through effortlessly and makes it her own. King Pleasure himself would smile at her rendition.

Here's To Life is a beautiful ballad that's been done by some of the greatest singers who's ever lived, yet Ms Edmond's version is a good or better than any version of this tune that's ever been recorded. The soaring passion that she brings to this tune makes it almost impossible for anyone who's ever had to struggle through life's adversities and then manage to survive to continue to fight the good fight, to listen to with a dry eye. _

"The Multi Grammy Award winning composer of "Here's To Life" Artie Butler, wrote the following:

"Rita Edmond knows exactly what to do with a song like "Here's To Life." She brings the listener into the music as she sings, making you feel she's singing just for you. That's indeed a gift."

In recent years Rita Edmond, took to the International stage again where she has tour Russia, Israel and Bangkok, Thailand. Rita is looking forward to recording more CD’s and touring many more beautiful foreign countries. But, she is also looking forward to singing and touring at various Jazz Festivals and Jazz Clubs here in the USA.

Links

iTunes Music

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Spotify

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Sketches Of A Dream

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Sketches Of A Dream

Press

3) Ms. Rita Edmond: A Glance at Destiny jazztimes.com (external link)

I’m about to throw you a curve here, Milton. I’m sure it’s going to strike you as beyond curious that during these dire political times one of your most strident political columnists would be writing you about music. But mark my words, I’m discussing much more than simply music here. This article describes an auspicious event that’s taking place in the world of jazz, which, for over a hundred years has always signaled a significant change in our political environment. So please don’t confuse this with a music review. Music is just the backdrop. My actual intent is to allow our readers to become a witness to history. Let me explain what I mean:
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For over a century the developments in jazz have always been a harbinger of things to come. It was jazz that made the Roaring Twenties roar, with people like Louis Armstrong and Fats Waller. It was also jazz that sustained us through the Great Depression of the thirties, with the driving big bands of Duke Ellington, Count Basie, and Chick Web, bringing along great ladies like Ella Fitzgerald and Billie Holiday. Later, jazz bolstered our troops to defeat fascism during WWII with people Benny Goodman and Jimmy and Tommy Dorsey. Then after the war, the celebratory sounds of bebop appeared on the scene, with Charlie parker, Dizzy Gillespie, and the fabulous Sarah Vaughan to usher in an era of the most sustained prosperity that this country has ever known. Then during the fifties and sixties Miles and Trane took over the reins to signal the emergence of a new Black consciousness, and the birth of a generation of Black people who were unwilling to "take their place" on the back of the bus.
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Now, due to the harmonic complexity and sophistication of jazz, it’s certainly not the most popular music in the country, since much of it is beyond the easy grasp of the masses. But that doesn’t make it any less influential in shaping the thinking of the people, because due to the musical innovations that continue to take place within its insulated world, jazz invariably defines the course of the music that the masses can understand. Thus, over the years, jazz has unfailingly defined the tenor of our times, and so it is again.
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One day a musician friend of mine approached me and said he wanted me to hear a CD. I'm an old school musician - Charlie Parker, Dexter Gordon, Mile Davis, etc. - so I'm not very big on today’s commercialism, but since he was a friend and fellow sax player, I agreed to take a listen.
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The CD was the work of a lady by the name of Rita Edmond, a name that I hadn’t ever heard before, but before this sister got to the bridge of the first chorus of the tune, I knew this wasn't just another singer. It was clear to me that this woman was a talent on the level of Ella, Sarah, and Dinah Washington. So when my friend saw my reaction, he started telling me that he could get me a copy of the CD, but I told him, "No, I want this one," and I literally SEIZED the CD from the brother. I threw some money on the hood of his car, and went to the park and spent hours listening to this fabulous lady, and I found every tune on the CD to be just as good or better than the one before. Thereafter, I broke my policy of only writing about politics, and plunged into an article about this very special lady.
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Ms Edmond is not just an entertainer, she’s a harbinger of a new era, so her discrete and unheralded arrival on the jazz scene is indeed ironic. She should have been welcomed with blaring horns, because her very presence signals the end of an era of gross mediocrity in the country, and in modern jazz.
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Perhaps that’s why in spite of the fact that she’s getting the accolades of flawless reviews, invited to open Dodger games, and being sought out to sing at celebrity weddings, the industry as a whole is doing its very best to blot her out. You see, the industry is a step ahead of us. They understand what Ms Edmond represents - a frontal assault on the forces of mediocrity.
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Rita Edmond looms as a serious threat to both the business and the political interests of those who have a vested interest in maintaining the status quo. If the masses begin to embrace Ms Edmond as the standard that defines talent, excellence, and class, the millions of dollars that the industry has spent to promote mediocrity will go for naught. And on a political level, Ms Edmond’s style, professionalism, and focused pursuit of excellence is absolutely toxic to the media’s attempt to dumb-down America.
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Rita has produced two CDs so far - “Sketches of A Dream” and “A Glance at Destiny,” (which she certainly is). And she came out the gate jumping in with both feet. On both CDs she tackles standards and signature songs by some of the best singers who ever lived, and she didn’t come up short once. Every song she does is either comparable or better than the version that made it famous - and any song on either of the two CDs could serve as the title song of the CD itself.
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And we’re not talkin’ fillers, here. On both CDs you definitely get your money’s worth. On the CD, "Sketches of a Dream," she does Dindi, Star Eyes, You’d Be So Nice To Come Home To, Body And Soul, All The Way, On The Street Where You Live, My Romance, Never Let Me Go, Day By Day, Out of Nowhere, Just In Time, Here’s That Rainy Day, You Stepped Out Of A Dream, Misty, Almost Like Being In Love, and Our Love Is Here To Stay. And the CD, "A Glance at Destiny", is just as formidable, where she does songs like Sunny, You’ve Changed, It Might As Well Be Spring, and You Don’t Know What Love Is.
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Of particular note on "A Glance At Destiny," Ms Edmond does Here’s To Life.That song has been done by some of the greatest singers in the world, both living and dead, but Rita has made that song her own. I challenge anyone who’s ever dedicated their life to fighting the good fight to try to get through that song with dry eyes. I’ve listened to it hundreds of times now, and I haven’t been successful yet.
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So yes, Rita Edmond is far from just another entertainer. This lady is the consummate artist. While she has a four octave range, unlike lesser singers, she never uses it frivolously just to say to the audience “look what I can do.” She never over-sings, and she never under-sings. She always puts the music first, and only dips into her formidable resources when the music demands it. In fact, every time she sings a song, it serves as a tribute to the composer.
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Yet, she puts her undeniable stamp on every song she sings, but again, not with frivolous and over-the-top embellishments, but with pure passion, and the power of excellence. The emotion in her ballads drip like honey, and she swings with the effortless finesse of a Bentley cruising down Pacific Coast Highway.
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Clear evidence of my assessment of Ms Edmond can be found in a YouTube video of her appearing at the Los Angeles County Museum of Art. She does“Embraceable You” with Harold Land, Jr. on keyboard. Her performance is simply flawless. The only thing missing is the melodic tones of Charlie Parker in the background. Bird would have loved her, because even as a relatively young woman, she belongs to his world.
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Milton, I realize that I've made a series of grandiose assertions here, and since we're both objective journalists I don't expect you to simply take me at my word. So I've attached a few links below. Take a minute and listen to this lady for yourself. I'm sure that when you're done my credibility will remain firmly intact.
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Thus, I've written this as both an article and a personal communication because you’re in a position to do the world a favor. I know you’ve got an ongoing relationship with Bill Cosby, and I also happen to know that Bill is a huge supporter of jazz. After you've listened to Rita yourself, take a minute to contact Bill and have him give her a listen. You'll not only be doing the world a favor, but you'll be doing Bill and yourself a favor as well. I assure you, Bill will be eternally grateful to you for providing him the opportunity to make a huge contribution to jazz, and also, for allowing him to give the world . . . a glance at destiny.

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ARCHIVE PRESS POST (external link)

Edmonds recalls two of the all-time greats, reflecting the vocal power and majesty of Sarah Vaughan, the impeccable timing and phrasing of Carmen McRae, and the intense, natural musicality of both.
Christopher Loudon _ Jazz Times Magazine


Some of the most powerfully emotional, soulful singing and jazzy phrasing and arrangements in the late 2000’s are coming from indie artists like Rita Edmond. _All Music Guide


Nancy Wilson, Oleta Adams, Sharon Jones,

These are the names I thought of as I listened to Rita Edmond sing on her album A Glance At Destiny. What you hear is someone with talent and grace, who understands the songs and the important interaction between singer and musicians, and how to convey that into a proper sounding recording. If this is only a mere Glance, I’m ready to join her on her life’s mission.
John Book - “ This is Book’s Music ”


The sweet sounds of modern jazz are abundant in "A Glance At Destiny" by Rita Edmond. Her voice is without many peers, and her sound will take you back to the days of Ella and Miles.
"Glance" is a virtual tour de force for Edmond, her voice is fluid throughout the collection. Her version of "S'Wonderful" is superb she takes the standard and zips it up for a modern audience while paying homage to a classic. One of the best cover songs I've heard in a while, it's an easy fit on any better iPod collection.
Christopher Llewellyn Adams_ Cashbox Magazine


Sounds of Timeless Jazz
The lovely singer has a four octave range and a voice that is sure to leave a lasting impression on your perspective of a true jazz vocalist. You can hear the exemplary intonation, phrasing and resonance that comes from years of training and honing her craft. The entire album showcases the excellence of Edmond in a way you’ve sure to remember.



It’s not often that a debut vocal album suggests the near-certitude of future greatness, but Rita Edmond's Sketches of a Dream, for which she also shaped all the arrangements and served as her own producer, is of that rare ilk.
Christopher Loudon, JAZZTIMES


IT IS OBVIOUS LISTENING TO " A GLANCE AT DESTINY " RITA IS A SUPERIOR JAZZ SINGER WHO IS ON THE BRINK OF GREAT SUCCESS. _Scott Yanow


It takes a lot of pure talent to breathe life into old jazz standards that have been repeatedly heard, but with Edmond’s four- octave range she easily connects with the pure emotions of these songs.
__Popjournalism


T.O.T.I. MUSIC
RITA EDMOND/A Glance at Destiny: A classy vocalist with some real jazzbos in tow and a familiar yet fun set card adds up to a kicking back good time from an under the radar pro that knows how to deliver. Edmond simply is a good time throughout. Check it out.
Chris Spector - Midwest Record - www.midwestrecord.com



Rita Edmond harks back to her days as an R&B demo singer to heighten the soulfulness of this fine sophomore release. Her soul roots are plainly evident on her scorching “Sunny” and more subtly realized on “Gently Rain.” The balance of the album ably showcases Edmond dexterity as both arranger and jazz interpreter. Her under-played reading of You’ve Changed was done astutely. Cleverly she separates her “Here’s to Life” from Shirley Horn’s definitive reading by opting to soar---where Horn dipped---on the word “life”, strengthening the lyrics steely affirmativeness.
Chrisopher Loudon _ JazzTimes


A great CD!
Rita is an excellent vocalist and Ricky Woodard is one of my favourite saxophonists.
A rhythm section to die for which includes Tootie Heath, is too much!
Clearly, I like this cd very much
Thank you for sending this music to me!
Peter Kuller, Radio Adelaide - Adelaide, Australia
 

WUCF Orlando
LOVE it and it will be featured on Sunday between noon and five pm.
“This is the best jazz vocal I’ve heard all year”. _John Stegier

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2) A Glance At Destiny by Rita Edmond jazzreview.com (external link)

When she recorded her previous CD Sketches Of A Dream, it was as if Rita Edmond burst upon the jazz scene almost out of nowhere. Her talent was fully formed, she swung at every tempo, gave plenty of feeling to ballads, and came up with fresh and stimulating ideas on vintage material. Now with the release of A Glance At Destiny, she builds on her success, continues displaying her love of jazz, and gives her growing number of fans another reason to get excited. "Once I finally started singing jazz," she says, "I knew that this is what I had to do, this is what I was put here for."

Born in Ohio, Rita remembers that she grew up around music, with her close relatives particularly loving such singers as Ella Fitzgerald, Sarah Vaughan, Dinah Washington and Nancy Wilson. When she was only five, Rita sang lead in the junior choir or her church. Her talent was obvious even then. At 15 she began taking lessons from the highly respected vocal teacher Evangeline Stewart. Rita, with her beautiful voice and a four-octave range, was a natural singer, one who could express the deepest emotions through music.

After high school, Rita sang in a variety of settings in such locations as Las Vegas, Nice, Cannes, Monte Carlo, Italy and Paris. But her other talents dominated for a few years. Rita recorded r&b and pop demos in Los Angeles for Motown, BET, MCA, EMI Publishing and Warner-Chappell. Behind the scene, Rita wrote and recorded music for various artists, shows and specials as well as ran her own music label. While she had commercial successes working on other artists projects it kept her away from singing the music she loved.

Two years ago Rita Edmond returning to full time singing in a big way. She quickly became a popular fixture in Southern California area jazz clubs met lots of musicians and recorded her solo debut Sketches Of A Dream. She contributed the arrangements and memorable interpretations to such songs as "Dindi" "Body And Soul" surprising medium-tempo versions of "All The Way" and "My Romance" a dazzling exploration of "Misty" and a heartfelt "Never Let Me Go."

Rita's new CD A Glance At Destiny she brought in the arrangements and picked out the repertoire and tempos. "The musicians followed my directions during the session. I chose who would play on what solo and on which song. This is one of the reasons why I say I"ve put my heart into this project. I made all of the decisions and did it my way." Great care had to be taken to pick out musicians who were not only supportive accompanists but stimulating soloists. Rita utilized two overlapping rhythm sections featuring either Joel Scott or Llew Matthews on piano James Leary or Edwin Livingston on bass drummer Albert "Tootie" Heath either Greg Poree or Jacques Lasure on guitar and occasionally tenor-saxophonist Rickey Woodard and trumpeter Nolan Shaheed.

Each of the performances (classic standards plus two of the singer's originals) is worth a close listen for every selection is full of subtle surprises there are no throwaways and the renditions are fresh and memorable. "Sunny" which is transformed into a swinging piece is an excellent introduction to Rita's soulful vocalizing. She contributes beautiful ballad singing to a very expressive "You"ve Changed " and "Gentle Rain." "It Might As Well Be Spring" is a joyful surprise being taken as a cooker rather than as a slow ballad. Listen to her powerful and passionate singing.

Rita Edmond's "In Case You Didn't Know" is a memorable love ballad that could very well become a standard for the 21st century. "It Could Happen To You" and "'s Wonderful" have been around for many decades but Rita's swinging versions give these songs new life. "Here's To Life" made famous by Shirley Horn is sung with plenty of feeling" "Easy Living" (associated many years ago with Billie Holiday) has some especially tasteful vocalizing and Jobim's "Triste" is filled with joy. After a hard-swinging "Just Friends" and an emotional "You Don't Know What Love Is" "This Can't Be Love" gives Rita's musicians an opportunity to stretch out. She concludes A Glance At Destiny by debuting her catchy bossa "You"re My Wings."

Throughout A Glance At Destiny and also in her live performances Rita Edmond often sounds like a master architect at work choosing the perfect note for the right spot making every sound and moment of silence count. Her interpretations of lyrics sense of swing and ability to infuse each song with her soulful feelings make her a superior jazz singer who is on the brink of great success.

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1) Rita Edmond: A Glance at Destiny (2010) allaboutjazz.com (external link)

Rita Edmond burst onto the jazz scene with her impressive debut, Sketches Of A Dream (T.O.T.I. Music Inc., 2008). That dream continues on a follow-up gem of a recording, presenting new arrangements of vintage material on A Glance at Destiny. A California girl at heart, Edmond is a fixture in the Los Angeles area jazz scene,already achieving a measure of success writing and recording for other artists before focusing on her own singing career. The Ohio-born vocalist began singing at the age of fifteen, and grew up listening to legendary divas including Ella Fitzgerald, Sarah Vaughan,, Dinah Washington and Nancy Wilson, all of whom inspired her passion for song.


Gifted with a beautiful, four-octave range voice, Edmond seems perfectly suited for jazz, stating "Once I finally started singing jazz, I knew that this is what I had to do,...what I was put here for." Serving as both producer and arranger on this project, Edmond made all the major decisions, including the personnel and solo duties. Using two overlapping rhythm sections, the singer features pianists Joel Scott and Lew Mathews, bassists James Leary and Edwin Livingston, with drummer Albert "Tootie" Heath handling the stick work. Guitarists Greg Poree and Jacques Lasure share duties, while trumpeter Nolan Shaheed, flautist Z. Sean Johnson and the versatile, in-demand saxophonist Rickey Woodard appear sparingly on the disc .


Borrowing a host of songs from The Great American Songbook, the repertoire includes the beautiful love ballad "Gentle Rain," Carl Fischer's classic "You've Changed," the Gershwin brothers' "S' Wonderful" and Gene De Paul/ Don Raye's jazz standard, "You Don't Know What Love Is." Choosing fourteen songs in varied tempos of light jazz, the singer also touches on the Brazilian genre briefly, featuring one of Antonio Carlos Jobim's oft-recorded tunes in "Triste," where Poree and Johnson are showcased with measured solos.


Woodard is a standout player on several pieces, none better than "Just Friends," though his performance on "This Can't Be Love" is also first-rate. While the players are provided with a good portion of solos space throughout, this is still Edmond's album, and her commanding approach to the lyrics leaves no doubt who is in charge.

A Glance at Destiny provides a highly enjoyable musical experience for those favoring light vocal jazz. The title may, in fact, refer to Edmond's vision of her own future, delivering a pleasurable selection of songs that offer but a glimpse of the singer's destiny.

Track Listing: Sunny; You've Changed; Gentle Rain; It Might As Well Be Spring; In Case You Didn't Know; It Could Happen To You; S Wonderful; Here's To Life; Easy Living; Triste; Just Friends; You Don't Know What Love Is; This Can't Be Love; You're My Wings.

Personnel: Rita Edmond: vocals; Lew Matthews: piano (2-4, 6, 10-13); Joel Scott: piano (1, 5, 7, 8, 9, 14); James Leary: bass (1, 5, 7, 8, 9, 14), Edwin Livingston: bass (2-4, 6 , 10-13); Greg Poree: guitar (10); Jacques Lasure: guitar (5, 14); Rickey Woodard: tenor saxophone (3, 4, 6, 11, 12, 13); Nolan Shaheed: trumpet (5, 7, 9); Z. Sean Johnson: flute (10).

Record Label: T.O.T.I. Music Co.