I Like the Sunrise Hannah Gill

• 1 So Far, So Good 02:55
• 2 I Ain't Got Nothin' but the Blues 04:38
• 3 Love You Madly 04:23
• 4 I'm Just A Lucky So-and-So 04:59
• 5 I Didn't Know About You 04:38
• 6 Got It Bad (and That Ain't Good) 03:59
• 7 Azalea 04:00
• 8 Do Nothing till You Hear from Me 03:24
• 9 I Like the Sunrise 04:15
• 10 Take Love Easy 03:33
• 11 Azure 02:54
• Total Runtime 43:38

Info zu I Like the Sunrise

With I Like the Sunrise, New York-based vocalist Hannah Gill reveals a more intimate side of her artistry, stepping away from the theatrical flair and high-energy performances that have defined much of her career. The album, her fourth release for Turtle Bay Records, serves as a heartfelt tribute to the timeless music of Duke Ellington, reimagining beloved compositions through a warm, guitar-centered approach that strips away convention and invites listeners into a more personal musical space.

Rather than recreating the grand orchestral arrangements often associated with Ellington’s catalog, Gill focuses on the strength of the songs themselves. Notably absent is the piano, a deliberate choice that allows the melodies, lyrics, and emotional nuances of each composition to take center stage. The result is a collection of performances that feel conversational, spacious, and deeply connected to the spirit of the material.

Gill has long earned acclaim for her versatility, building a devoted following through performances with East Coast swing dance bands, Postmodern Jukebox, Lindy Hop bandleader Gordon Webster, and The Hot Toddies Jazz Band. Her previous Turtle Bay releases, particularly the popular Spooky Jazz albums, showcased her ability to blend vintage swing, theatrical storytelling, and playful imagination. On I Like the Sunrise, however, she embraces a quieter form of expression, demonstrating a new level of artistic maturity and confidence.

The project grew out of Gill’s admiration for Ellington’s unique ability to balance sophistication with emotional accessibility. Drawn to songs such as “Azalea” and “I Like the Sunrise,” she found herself inspired by their beauty, tranquility, and capacity for reflection. By removing the familiar framework of piano accompaniment, Gill allows the lyrical and interpretive core of these songs to emerge with remarkable clarity.

Central to the album’s success is the chemistry of the ensemble. Guitarist Luis Salcedo, bassist Philip Ambuel, and drummer Adam Ray form a cohesive rhythm section that developed naturally through months of live performances. The group spent 33 weeks in residency at Brooklyn’s Cocktail Magique, performing much of this repertoire weekly and refining the arrangements in front of audiences. By the time they entered the studio, the music had evolved organically, shaped by experience rather than strict adherence to written charts.

That sense of familiarity and trust permeates the recording. Captured at The Bunker in Williamsburg and recorded through analog tape, the album possesses a warm, tactile quality that perfectly complements its understated mood. Rather than relying on extensive overdubs or rigid arrangements, the musicians collaborated in real time, creating performances that feel spontaneous and alive. Select appearances by saxophonist Ricky Alexander add another layer of color while maintaining the album’s intimate atmosphere.

The collection opens with “So Far So Good,” a buoyant performance filled with optimism and gentle swing. Gill’s phrasing is playful and assured as Salcedo’s guitar and Alexander’s saxophone engage in lively musical conversation. “I Ain’t Got Nothin’ But the Blues” follows with a more introspective mood, beginning with sparse guitar figures before gradually expanding into a rich emotional landscape. Gill’s storytelling shines here, her vocal delivery balancing sensuality and vulnerability.

Throughout the album, Gill demonstrates remarkable control over tone and dynamics. “Love You Madly” finds the ensemble settling into a joyful groove, while “I’m Just a Lucky So and So” offers one of the vocalist’s most relaxed and heartfelt performances. On “I Didn’t Know About You,” delicate guitar work creates an ideal backdrop for Gill’s breathy, nuanced interpretation.

The emotional depth of the project becomes especially apparent on “I Got It Bad (And That Ain’t Good),” which begins as an intimate dialogue between voice and guitar before gradually opening into a fuller arrangement. Gill’s restrained approach emphasizes the song’s humanity, avoiding melodrama in favor of genuine emotional connection.

One of the album’s standout moments arrives with “Azalea,” a composition perhaps best known through Louis Armstrong’s 1963 recording. Here, Gill transforms the song into a study in atmosphere and subtlety, supported by understated rhythmic movement and intricate guitar textures. Elsewhere, “Do Nothing Till You Hear From Me” introduces a touch of playful swing, while “Take Love Easy” unfolds with a cool, effortless elegance.

The title track serves as the emotional centerpiece of the album. Rendered as a dreamy, hymn-like ballad, “I Like the Sunrise” captures the hope and quiet renewal at the heart of Ellington’s original composition. Gill’s voice floats effortlessly through the arrangement, conveying both fragility and optimism while the ensemble provides a spacious and supportive backdrop.

The album closes with “Azure,” a beautifully minimal performance featuring only voice and guitar. Enhanced by Gill’s charming whistle, the track creates a cinematic and atmospheric conclusion that perfectly reflects the album’s emphasis on nuance, intimacy, and emotional honesty.

More than a tribute to Duke Ellington, I Like the Sunrise represents a significant artistic evolution for Hannah Gill. Known for commanding lively stages and engaging enthusiastic audiences, she chooses here to embrace restraint, inviting listeners to lean in rather than be swept away. The result is a deeply rewarding collection that highlights not only the enduring brilliance of Ellington’s songwriting but also the remarkable depth and versatility of Gill’s own voice. (jazzchill.blogspot.com)

Hannah Gill, vocals
Luis Salcedo, guitar
Philip Ambuel, bass
Adam Ray, drums

Hannah Gill
is a jazz vocalist, songwriter, and performer based in Bushwick, Brooklyn in New York City. Currently signed with Turtle Bay Records, her debut jazz album “Everybody Loves A Lover” came out in September 2023. She has over 10 million streams on Spotify, and her YouTube videos have exceeded 22 million views. She has been covered by The New York Times, Teen Vogue, and NPR, among others, and has toured internationally with her own jazz band, Postmodern Jukebox, and jazz pianist Gordon Webster. While on tour, she has performed at legendary venues and Lindy Hop events such as the Sydney Opera House in Australia, l’Olympia in Paris, Jeju Swing Camp in South Korea, The Snowball in Sweden, Marian’s Jazzroom in Switzerland, and the Jazzablanca Music Festival in Morocco. When not on tour, you can catch her performing at Company XIV, a Baroque Burlesque Theater in Bushwick. You can also find her performing her original music as well as leading her jazz band all over the city. She can also be seen performing with various outfits in NYC, including The Hot Toddies, Gordon Webster and Friends, and The Glenn Crytzer Orchestra.

Dieses Album enthält kein Booklet