XX chromosome rated art…
Sirintip Phasuk mixes vocal effects wtha wide variety of programming on her ow part, along with multi-keyboardist Kengchakaj Kenjarnka, drum programmer Nolan Byrd and of other programmers and musicians to create a synthesized mix of pop tunes. There is an electronic pulse running through most of the pieces such as “Hydrogen” and 80s techno’d ideas such as “Red Eyes”. Sirintip’s voice is reminiscent of Gretchen Parlato, soft and feathery, veering in between “oohs” on 
“Hostage” and vocal percussion in a quirky fashion like Sia on “Oasis”. File this one under “catchy and quirky”.
Diane Marino sings and plays piano on standards with Frank Marino/b-g, Chris Brown/dr, Pat Bergeson/g, Joel Frahm/sax, Chuck Redd/vib, Brad Cole/key, Wycliffe Gordon/tb, Desmond Ng/tb, Leif Shires/tp and Cole Burgess/sax. Ms Marino handles the arrangements, while Cole supplies the hip bras chats, as on the sassy shuffle of “Rock Me To Sleep”. Her brassy voice works well with the post bop take of “I Hear Music” and rides 
along the slinky bass line of the title tune”. There’s a fun salsa’d “It Could Happen To You” and she gets cozy with Frahm on “Detour Ahead” and coy with Burgess for “The Late, Late Show”. Mature musings.
Delicate toned vocalist Aubrey Johnson creates cozy duets with pianist Randy Ingram on this intimate album of standards. While subtle and understated, each song carries its own personality well, with Ingram in a nocturnal setting for “If I Should Lose You” and flowing gently on the conversant “If I Would Ever Lose You”. Johnson, while reflective throughout, is able to work dynamics well, sighing through a soft “Prelude”, pretty and hopeful n “My Ideal” and cozy on the sly “I’ll Remember April/April”, building up tension and drama well on “Conversation”. Home etchings.
Soft and sweet toned Diana Panton teams up with a jazz team of Phil Dwyer/sax, Reg Schwager/g, Don Thompson/key, Jim Vivian/b and the string team of the Penderecki Quartet for fragrant renditions of material. The strings work well on the medley of “Where Do You Start/Once Upon A Time” with Panton in a late night mood here and on “To Say Goodbye” with Thompson. She’s cozy with Schwager on “This Will Make You Laugh” and coy alongside Dwyer’s tenor during “Without Your Love”. Panton stands with long shadows and the strings on the blue “I’m Going TO Laugh You Right Out Of My Life” and the parlor’d “Yesterday”. Grey hues.
Sarah Elizabeth Charles creates dreamy computerized sounds with Jesselder/key, Jordan Peters/g, Burniss Earl Travis KK/B, John Davis/dr and a collection of guests. The moods range from the somber “Borders”, dreamy and pretty “Malba”, abstract “Freedom Day” (with guest Adjuah) and earthy “Brother”. The mix of effects, electronics, and multiple layers makes for passionate dynamics, but with an overall contrived feeling, both feeling and leaving one hungry.
Akiko Aoki keeps it straight and straight ahead on this albulm of standards with Tim Ray/p, Marshal/b, Tommy Campbell-Mark Walkdr/dr, John Baboian/g, Greg Hoplins/tp, Ken Peplowski-Mike Monaghan/sax and Hiro Honshuku/fl. She swings with sophistication on material like “ALmost Like Being In Love” and is soulful with Honshuku on “Jardin D’hiver”. Hopkins’ muted trumpet teams up well with the vocalist on “Yesterday I Heard the Rain” and she digs in well with Peplowski on an earthy “Sugar”. Soft sounds.
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