Nothing Standard Jesse Palter

• 1 Dealin' with (You Better Know) 04:26
• 2 I Wanna Keep You Forever 04:31
• 3 My Sweetie & I 05:55
• 4 Hold My Hand 05:32
• 5 Spinning Round 03:02
• 6 Small Not Tall 03:59
• 7 Happiness 05:47
• 8 Thought It Through 04:03
• 9 Hey Jude 06:28
• 10 Time to Go / Curtain Call 04:10
• 11 When the Sun Comes Out 04:07
• Total Runtime 52:00

Info zu Nothing Standard

Drawing inspiration from both the masterful composers and vocalists who composed and interpreted "The Great American Songbook” with the objective of pushing the music forward, "Nothing Standard" is a modern homage to the tradition of jazz singing and standards-songwriting.

Showcasing primarily original music, co-written by award-winning jazz vocalist Jesse Palter and her longtime collaborator, pianist Michael Jellick, and featuring accompaniment by jazz titans Ben Williams on bass and Gregory Hutchinson on drums.

Los Angeles based multi-genre artist, Jesse Palter, has been in the entertainment industry the majority of her life. She began singing publicly at age five, studying piano at age six, she attended the University of Michigan School Of Music as a Jazz Major, won Outstanding Jazz Vocalist at three consecutive Detroit Music Awards, shared the stage with genre legends and headlined at legendary clubs like NYC’s Blue Note and festivals such as The Red Sea Jazz Festival. Her original music has been featured on a variety of television shows and commercials including The Real World, 90210 and Keeping Up With The Kardashians.

Jesse Palter, vocals
Michael Jellick, piano
Ben Williams, bass
Gregory Hutchinson, drums

Jesse Palter
I was born and raised in a suburb of Detroit, MI. I was an innate dreamer and music was always my calling. My grandmother on my father’s side was an opera singer, so my dad’s exposure to that contributed to my parents supporting my musical pursuits since I was a kid. My mom said when my family would sit down to eat dinner, I took the opportunity to have an attentive audience and would get up and entertain them, so the tendencies were always there. I started dance lessons at two and piano lessons at seven. Around that time, I begged my parents to let me audition for the local community theatre’s production of Alice and Wonderland. That experience cemented my love of performing which ultimately progressed to professional musical theatre, musical theatre summer camps, and troupes, vocal lessons, etc.

I started playing the Oboe in 5th grade. I liked the Oboe because nobody else picked it to play at school (I was always a bit unconventional). I went to a middle school that specialized in the performing arts, and it was there that I realized I wanted to be a recording artist and discovered my ear for improvisation. The latter came about when I was playing the Narrator in the school’s production of Joseph And The Amazing Technicolor Dreamcoat, and I started embellishing the melody out of nowhere during our dress rehearsal. The teacher reamed me out then pulled my mom aside to suggest she get me into jazz. So I got a trumpet and spent the summer learning to play. I came back at the top of the next school year, auditioned for jazz band, got in, and thus began my love affair with jazz.

When I was 12, inspired by the surge of young teen pop sensations, I reached out to a producer based out of Nashville (the late singer/songwriter/musician, Andrew Gold) and asked him if he’d want to produce music for me. I think he found my ambition quite amusing, so he scheduled a phone call with me and asked me to sing for him as an audition of sorts over the phone. Next thing I knew, my family was driving out to Nashville, so I could work with him. I learned about the importance of songwriting and the power of a song from Andrew. We made some demos, and he helped get me some major label meetings in Los Angeles. It was in a meeting with Lenny Waronker where I decided (mid-meeting, mind you) that I wanted to be a jazz musician and study jazz music. So back to the drawing board I went.

But, I was also developing the muscle for writing pop songs, and I got connected with The Bass Brothers when I was a sophomore in High School. They heard something in me and signed me to a production deal as a developing artist. We co-wrote together for a year, and they intended to shop me for a major label deal, but they were working with Eminem who was at the height of his career, and he occupied most of their time. I decided to enroll in the jazz program at University of Michigan’s School Of Music because it was important to me to be a musician first and foremost, and so off I went to further study the language of jazz and improvisation, theory, musicology, etc.

I left school my junior year because I was getting opportunities to perform in jazz clubs around Detroit which was occupying most of my time. I was making money and learning more on the job than solely in a practice room, and my pianist/collaborator at the time (Mike Jellick) was teaching me more than any private teacher I had ever had. We got to the point where we were doing 250 gigs a year, and we recorded an album when I was 19 which led to the opportunity to tour a bit as well. Another pianist I had worked with (John Nam) connected me with songwriter/producer/keyboardist Sam Barsh while I was in New York doing some gigs.

Sam and I got together to chat and play some music, and after playing a standard or two, he turned to me and said: “do you want to just write pop music?” It was a match made in heaven, being that we both had a strong foundation in jazz but pop tendencies in our writing. Our collaboration evolved into our band Palter Ego, which ultimately brought us both to Los Angeles in 2010. We had some luck in the licensing/sync world as well as a few videos that went viral, a presence on the LA music scene and did some touring, but after years of pushing our thing independently, our resources were limited and without label backing or PR we had come to a crossroads. Sam’s career as a songwriter began to take off, and I began to focus on my solo project. Side note, Sam and I still write and perform music to this day and he’s one of the great collaborators of my life.

In 2015, a recording of my original jazz compositions got in the hands of an A&R at Mack Avenue Records. He wanted to sign me and release that record, but the one crossover song on the record caught the attention of the President of the label who asked to hear additional material in that vein. At the same time, I was connected with my manager David Passick, who has managed me since then and encouraged me to focus on my career as a singer/songwriter as well. So I hunkered down and wrote all the material that ultimately got me the record deal.

In December of 2016, we signed, in 2017, I recorded my album, in October of 2018 I released “The Paper Trail EP” and we are now gearing up to release my full length “Paper Trail” album this summer! You can currently hear The Paper Trail EP on all digital platforms, and we released a glittery music video for the single “Heavy Is The Crown” that is currently on Vevo & YouTube.

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