1 	I Can't Help It 	4:49
2 	Within Me 	5:34
3 	Butterfly 	5:02
4 	In A Dream 	5:30
5 	Doralice 	3:22
6 	Turning Into Blue 	5:13
7 	E.S.P. 	4:05
8 	Azure 	4:17
9 	On The Other Side 	3:58
10 	Weak 	5:10

Bass – Derrick Hodge (tracks: 2-4,6-10)
Drums – Kendrick Scott (tracks: 2,4,6,9,10)
Electric Piano – Aaron Parks (tracks: 4,7,9,10)
Glockenspiel – Aaron Parks (tracks: 6)
Guitar – Lionel Loueke (tracks: 1-5,7-9)
Organ – Aaron Parks (tracks: 4,6)
Percussion – Gretchen Parlato (tracks: 7,9), Kendrick Scott (tracks: 2)
Piano – Aaron Parks (tracks: 2,6,8)
Producer – Michele Locatelli
Synthesizer – Aaron Parks (tracks: 10)
Vocals – Gretchen Parlato, Lionel Loueke (tracks: 1,3,5,8,9) 

Gretchen Parlato is a rising star in vocal jazz circles of the 2000s who everyone should pay attention to and enjoy. Her singing is pure sterling silver, accented with just a hint of ethnic shadings and a big helping of modern style that goes well beyond standard fare. As alluring, distinct, and mature as her youthful instrument is, she deserves extra credit for choosing some of the most interesting young players who also are ascending to major-league status. Guitarist/vocalist Lionel Loueke, keyboardist Aaron Parks, bassist Derrick Hodge, and drummer Kendrick Scott are all leaders in their own right, but add bright and inventive accompaniment that perfectly matches the pristinely hopeful sounds Parlato expresses. The music taps from many sources, including a cute vocal variation of Herbie Hancock's funky "Butterfly," Wayne Shorter's "E.S.P." with rain forest imagery, scat, and quirky 6/8 beats, or Duke Ellington's "Azure" in adapted 5/4 time with Loueke's guitar and Hodge in late. Stevie Wonder's "I Can't Help It" is a pining, crossover, Latin-tinged love song as Parlato sings and Loueke scats and add mouth pops, while Dori Caymmi's skittering "Doralice" is easily representative of expanded tropicalia sensuality. Parks, much like his peer Robert Glasper, has the modern spirit song, loose-repeat-phrased-and-deep-harmonic piano style down pat. As you listen to the Glasper/Parlato joint composition "In a Dream," or the 7/8 meter of "Turning into Blue," you are enveloped in this thin veneer of cloudy, dream sequence sound that identifies the heart and soul of these unique musicians. "Weak" turns this concept into a rock/funk beat emphasized by Fender Rhodes electric piano juxtaposing choppy rhythms versus Parlato's sweet voice, whereas "On the Other Side" flips the script in a shuffle with percussion in shades of renewal and retrial. A muffled, taped recording of Parlato singing at age two is tacked on two tracks, emphasizing the growth curve she has experienced, but more so how she appreciates the child-like wonder that her music clearly retains. Gretchen Parlato is going to be a major player on the contemporary vocal music scene, jazz or not. In a Dream already shows vast potential realized, and is easily recommended to those who appreciate vocal music with an instrumentalist's concept. ---Michael G. Nastos, AllMusic Review

Gretchen Parlato grew up in a musical household, the daughter of bassist/guitarist Dave Parlato (who worked with Don Ellis, Warne Marsh, Gil Melle and Frank Zappa, among others). She won the 2004 Thelonious Monk Jazz Vocal Competition and released her debut CD on her own label the following year; In a Dream is her long awaited follow-up and it does not disappoint. Like many jazz musicians of her generation, Parlato casts a wide net in choosing her repertoire, drawing from pop, jazz standards and her own originals, with a sympathetic band including African guitarist/singer Lionel Loueke, pianist Aaron Parks, bassist Derrick Hodge and drummer Kendrick Scott, all of whom have recorded as leaders.

Parlato kicks off by engaging in a playful Latin setting of Stevie Wonder's "I Can't Help It," with Loueke as her sole partner. Her first original, the album's title track, is set to a tune by pianist Robert Glasper, a breathy ballad that shimmers like sunlight on the water. "Turning Into Blue," with music by Alan Hampton, is a breezy affair that successfully blends elements of jazz and pop.

Parlato's magical rendition of Duke Ellington's infrequently performed "Azure" finds her musicians very reserved yet taking the music down a different path, while the singer overdubs extra lines at times. She bubbles with energy in the electric setting of Wayne Shorter's "E.S.P.," scatting a solo with occasional overdubbed excerpts of her singing at the age of two. A vintage home recording is also added to her interpretation of Herbie Hancock's "Butterfly," with her sweet voice complemented by Loueke's inventive acoustic guitar and offbeat mouth clicking. Parlato resists preset boundaries and follows her own muse, rewarding listeners with her spirit of adventure. ---Ken Dryden, allaboutjazz.com

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01 – Holding Back the Years
02 – Winter Wind
03 – How We Love
04 – Juju
05 – Still				play
06 – Betten Than
07 – Alo, Alo
08 – Circling
09 – Henya
10 – In A Dream Remix
11 – All That I Can Say		play
12 – Me and You
13 – Blue in Green
14 – The Lost and Found
15 – Without A Sound
16 – Betten Th an

Personnel
    Gretchen Parlato, voice
    Taylor Eigsti, piano
    Derrick Hodge, bass
    Kendrick Scott, drums
    Feat. Dayna Stephens, tenor saxophone
    Feat. Alan Hampton, guitar and voice

If ever a record label matched (in name) the artistry of its talent, it’s Obliq Sound when it comes to Gretchen Parlato. And if modern jazz singing is all about using the voice as an instrument, Parlato has put her instrument front and center, not with free improvisation and intervallic gymnastics, but with a restrained palette and the power of suggestion. When I think of Parlato, I don’t hear Charlie Parker; I hear Miles Davis.

Winner of the 2004 Thelonious Monk Vocal Competition, Gretchen Parlato has quickly evolved a sound based largely on nuance and subtlety, appealing as much to Brazilian, R&B and pop audiences as to modern jazz listeners. On her third release, she offers an eclectic soundscape of 15 songs, four of her own compositions, 6 more with her own lyrics (including her take on Wayne Shorter’s “Juju”). Her band fits her musical attitude perfectly—Taylor Eigsti, himself a young phenom on keyboards; much accomplished Derrick Hodge on bass; another young upstart, Kendrick Scott, on drums; with guest turns from saxophonist Danya Stephens, guitarist Alan Hampton (who contributes “Still”), and co-producer/keyboardist Robert Glasper (who contributes “A Dream Remix”).

Despite the diversity of source material, Parlato’s airy delivery provides a consistent sonic transparency from one track to the next, from the wispy opening cover of Simply Red’s “Holding Back the Years” to the ambient closing of Eigsti’s “Without a Sound.” In between, her vocalese soars in tandem with Stephens’s sax on “Juju, reaching its most haunting edges on Ambrose Akinmisure’s “Henya;” her whispering echoes create a celestial fantasy of Glasper’s “A Dream Remix.” Her swaying acappella vocal/percussion performance on Paulinho da Viola’s “Alo Alo” (sung in Portuguese) and charming vocal duo with composer Alan Hampton on “Still” are other high points.

While Parlato sails on waves of impressionism, she’s buoyed by the more assertive finesse of her band, particularly Taylor Eigsti who sparkles on “Winter Wind” and “Blue and Green” and, most exquisitely, on “Henya,” while Hodge and Scott provide the soul and heartbeat throughout. The CD package comes with the full set of lyrics for all 15 tracks, a welcome addition that confirms (my) suspicion that Gretchen Parlato’s success may lie as much in her poetry as in her vocal stylings. The Lost and Found highlights both talents. --- Andrea Canter, jazzpolice.com

It's seven years since Gretchen Parlato, the whisper-voiced young New Yorker, won the prestigious Thelonious Monk International Jazz Vocals competition. This is only her third album, but she's already recorded more than 50 sessions for other leaders – a measure of her sensuous sound, emotional power and ensemble sense. Think Astrud Gilberto with Norma Winstone's harmonic sophistication (she likes Latin grooves), and a contemporary rhythmic hipness fuelled by New York's eclectic downtown scene. The Lost and Found has a typically delicate repertoire, including Paulinha da Viola's samba hit Alô Alô, Wayne Shorter's Juju (given some Shorteresque smokiness by Dayna Stephens's tenor sax), a pattering, hip-hop-inflected Blue in Green, a remix contribution from Robert Glasper, and several vocal passages floating over improv that build compelling dramas while barely raising the volume. A little more of Stephens's sax and Parlato's graceful duetting with singer/guitarist Alan Hampton might have enhanced the variety, but it's a delectable set just the same. --- John Fordham, guardian.co.uk

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