Karla Chisholm

"Most describe her original music as indie jazz... a pairing of sultry, smooth old-school jazz vocals with a k.d. lang-sounding soulfullness topped with a dash of Zooey Deschanel-like cutesy, pop charm." - Frederick News Post

Karla Chisholm defines the sound of the modern indie jazz vocalist with her latest EP release “Moving On.” The texture of her voice juxtaposes a clean contemporary artist with a weathered seasoned songstress. The musicianship on this release is outstanding; lead by music director and bassist Mike Pope (who has toured with Michael Brecker & Chick Corea).

On the first track “Lovers Wonderland,” Chisholm uses her vocal styling and lyrics to paint the story of a tortured love affair. Throughout this track she seamlessly incorporates the musical arrangement into every nook and cranny of the song, right down to the last “chicka-chicka-chicka.” The song starts off with a screaming trumpet solo performed by Kevin Burns that is reminiscent of Maynard Ferguson’s “Conquistador,” eventually landing into an easy Latin feel. As the love affair begins to take a turn for the worse, Miguel Bard’s flamenco guitar plays the role of the antagonist strumming and plucking the song into a frenzy of samba madness. At this point, the listener begins to see the true range of Chisholm’s vocal abilities as she stands atop the band and belts out the chorus in all its glory.

The stand out single for this release is “Brain Snow,” which is a bluesy, funk tune with a full horn section and remarkable background vocal harmonies. The intro starts off with horn hits interspersed with a tenor saxophone solo by Tedd Baker. The groove lands on Mike Pope’s bass line that hints at “Ain’t No Sunshine When She’s Gone.” In this tune, Chisholm’s vocals seem a bit edgier as she incorporates a thematic chromatic line, really tight background harmonies, and vocal inflections that shape the lyrics. Throughout the arrangement of this track, Chisholm uses vocals and horns to create a mixture of tension and release until a full on jam session ensues to close the song out.

“Losing Control” is a beautifully dissonant break up song that tells the story of falling out of love with someone that you wish you still loved. It is apparent from the pain in Chisholm’s voice that this song is autobiographical. Kris Funn’s bass lines are the perfect complement to this story.

“Moving On” wraps up with the gospel influenced “The One,” which tells the story of finding true love. This is by far the most commercial track on the EP with more classic lyrics and arranging. It is a happy upbeat song that uses the background vocals, horn section, and rhythm section to drive the song home leaving the listener wanting more.

The most impressive aspect of Chisholm’s “Moving On” is that there is not one extra note. Every piece of the arrangement has a purpose. Even the space and silence add to the texture of the songs. Solos are more about substance than chops. And the dynamics are just as important as the notes. - Mobtown Music Guide

Karla Chisholm defines the sound of the modern indie jazz vocalist with her latest EP release “Moving On.” The texture of her voice juxtaposes a clean contemporary artist with a weathered seasoned songstress. The musicianship on this release is outstanding; lead by music director and bassist Mike Pope (who has toured with Michael Brecker & Chick Corea).

On the first track “Lovers Wonderland,” Chisholm uses her vocal styling and lyrics to paint the story of a tortured love affair. Throughout this track she seamlessly incorporates the musical arrangement into every nook and cranny of the song, right down to the last “chicka-chicka-chicka.” The song starts off with a screaming trumpet solo performed by Kevin Burns that is reminiscent of Maynard Ferguson’s “Conquistador,” eventually landing into an easy Latin feel. As the love affair begins to take a turn for the worse, Miguel Bard’s flamenco guitar plays the role of the antagonist strumming and plucking the song into a frenzy of samba madness. At this point, the listener begins to see the true range of Chisholm’s vocal abilities as she stands atop the band and belts out the chorus in all its glory.

The stand out single for this release is “Brain Snow,” which is a bluesy, funk tune with a full horn section and remarkable background vocal harmonies. The intro starts off with horn hits interspersed with a tenor saxophone solo by Tedd Baker. The groove lands on Mike Pope’s bass line that hints at “Ain’t No Sunshine When She’s Gone.” In this tune, Chisholm’s vocals seem a bit edgier as she incorporates a thematic chromatic line, really tight background harmonies, and vocal inflections that shape the lyrics. Throughout the arrangement of this track, Chisholm uses vocals and horns to create a mixture of tension and release until a full on jam session ensues to close the song out.

“Losing Control” is a beautifully dissonant break up song that tells the story of falling out of love with someone that you wish you still loved. It is apparent from the pain in Chisholm’s voice that this song is autobiographical. Kris Funn’s bass lines are the perfect complement to this story.

“Moving On” wraps up with the gospel influenced “The One,” which tells the story of finding true love. This is by far the most commercial track on the EP with more classic lyrics and arranging. It is a happy upbeat song that uses the background vocals, horn section, and rhythm section to drive the song home leaving the listener wanting more.

The most impressive aspect of Chisholm’s “Moving On” is that there is not one extra note. Every piece of the arrangement has a purpose. Even the space and silence add to the texture of the songs. Solos are more about substance than chops. And the dynamics are just as important as the notes. - Mobtown Music Guide

KARLA CHISHOLM
Album review: "Moving On"

"Moving On" is kind of a strange title for a debut album. Moving on? But you only just arrived!

In listening to Karla Chisholm's new LP, it becomes apparent that the title has more to do with the story arc of love that plays out over the course of these six dynamic tracks. If she had wanted to get all self-referential about it, perhaps "Moving In" would have been more apt. Chisholm's songs - which carve out a niche for themselves somewhere in that ambiguous territory between R&B, jazz and folk - will wriggle their way into your head and stay there for the foreseeable future.

Chisholm's vocals are resonant of a host of other artists, often in the space of a few seconds. On Latin opener "Lover's Wonderland" she transitions seamlessly from Jane Monheit's sultry tenderness to Florence Welch's guttural power. In the funky "Brain Snow," she channels Erykah Badu with her quick-rhyming lyrics, snappy harmonies and eloquent, jazzy phrasing. Carole King shines through on the power ballad "Mexico."

Each song on "Moving On" is memorable. But together, the collection is so diverse that one feels compelled to draw comparisons for context's sake. In the end, it would be more satisfying to have a better sense of Chisholm's true sweet spot as an artist. If this were a full album, what would the rest sound like? Perhaps we'll have to wait for this promising singer to move on in order to find out.

--Jess Righthand, Nov. 25, 2011 - Jess Righthand

KARLA CHISHOLM
Album review: "Moving On"

"Moving On" is kind of a strange title for a debut album. Moving on? But you only just arrived!

In listening to Karla Chisholm's new LP, it becomes apparent that the title has more to do with the story arc of love that plays out over the course of these six dynamic tracks. If she had wanted to get all self-referential about it, perhaps "Moving In" would have been more apt. Chisholm's songs - which carve out a niche for themselves somewhere in that ambiguous territory between R&B, jazz and folk - will wriggle their way into your head and stay there for the foreseeable future.

Chisholm's vocals are resonant of a host of other artists, often in the space of a few seconds. On Latin opener "Lover's Wonderland" she transitions seamlessly from Jane Monheit's sultry tenderness to Florence Welch's guttural power. In the funky "Brain Snow," she channels Erykah Badu with her quick-rhyming lyrics, snappy harmonies and eloquent, jazzy phrasing. Carole King shines through on the power ballad "Mexico."

Each song on "Moving On" is memorable. But together, the collection is so diverse that one feels compelled to draw comparisons for context's sake. In the end, it would be more satisfying to have a better sense of Chisholm's true sweet spot as an artist. If this were a full album, what would the rest sound like? Perhaps we'll have to wait for this promising singer to move on in order to find out.

--Jess Righthand, Nov. 25, 2011 - Jess Righthand