Jennifer Sanon
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Jennifer Sanon

Band Jazz Singer/Songwriter


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"Marlsais' young players bask in the spotlight"

The young band that Marsalis brought to Orchestra Hall over the weekend underscored the trumpeter's passion for finding and nurturing new artists. Apart from longtime Marsalis collaborator Walter Blanding Jr. on saxophone, Marsalis' quintet was staffed by players of a younger generation. And by featuring the 19-year-old vocalist Jennifer Sanon, a bona fide discovery, Marsalis reminded a capacity audience that jazz constantly replenishes itself with waves of inspiring new talent.

Because Marsalis' small groups rarely feature a singer, Friday night's performance by Sanon was noteworthy... Crying out her phrases with clarion force, fleshing out the tune with shouts and wails and sighs, she conveyed an emotional maturity one does not typically encounter in singers so young.
- By Howard Reich, Tribune arts critic.

"A showcase of popular and jazz"

Mastery of the trumpet as well as a century of jazz tradition doesn't come any more naturally than it does in the playing of Wynton Marsalis.

And he brought with him a 19-year-old singer, Jennifer Sanon, who was wise beyond her years in renditions of the encore, "Comes Love," and a traditional blues that almost had her channeling Billie Holiday and Miles Davis. Sanon also made her own of two "Magic Hour" songs Marsalis wrote for Bobby McFerrin and Dianne Reeves. Of Marsalis' instrumental colleagues, Blanding sometimes evoked the great swing-era saxophonists, and elsewhere he delivered the roiling, elongated phrasing and bluesy harmonic sense of the hard-bop heritage. That goes for his occasional turns on his other saxophone, a curved-bell soprano...

"Wynton Marsalis feat. Jennifer Sanon"

LENGTH: 476 words
HEADLINE: Marsalis ushers in new festival

Wynton Marsalis -- he of the phenomenal talent and versatility -- jump-started Festival Diapente with an appearance Sunday evening at the Earth Harp installation outside the Van Wezel Performing Arts Hall, and a superb concert inside the hall a few minutes later.

An extraordinarily gifted young singer, Jennifer Sanon, joined the group to provide an effortless, supremely musical rendition of "Comes Love," in which her rich voice, impeccable intonation and solid rhythm made this song and "Baby, I Love You," which followed, memorable. At age 19, with her gifts and the support of Marsalis, she should have an outstanding career.

Marsalis' contributions to both classical and popular music are well known, ranging from definitive performances of Baroque music for trumpet to concerts and recordings in which he has expanded the boundaries of jazz to include both classical and modern influences.

On Sunday, there were moments when he and his gifted quintet seemed to be channeling both C.P.E. Bach and Philip Glass without ever losing the earthy spirit of jazz and the blues.

For the classical music fans in the capacity audience (and there were many), pleasures were to be found in the clear manner in which the selections were constructed and presented. The minimalist gestures of pianist Aaron Goldberg were clean, modern, deft.

For those seeking the less-abstract excitement of more traditional jazz, bassist Carlos Henriquez and saxophonist Walter Blanding provided plenty of rich satisfaction, while Ali Jackson astounded everyone with his dazzling pyrotechnics on the drums, snapping out rhythms in both styles.

Yet, for all the razzle-dazzle, there was plenty of sensitivity to go around.

For example, after an almost-abstract John Adams-like version of Dizzy Gillespie's "Bloomin' Boogie," "I Remember April" was given a lilting, bossa nova-influenced beat for a series of variations on the theme, a technique which pervades both classical and jazz music.

Logic would tell us that these musicians have performed this program so often that it must be frozen in most aspects. While that could well be true, the sense of experimentation, an impression of real improvisation, pervaded the evening, especially in Marsalis' playing of such unfamiliar pieces as "Free to Be Free" and "Big Fat Hen" (in which he managed to imitate chickens on his trumpet). Elsewhere, both his soft playing and his stratospheric scatting were enormously impressive.

Sanon rejoined the group for solid, self-assured versions of "This Is the Feeling of Jazz" and "Them There Eyes," closing the program with "Alabama Bound" in a rendition packed with good humor and impressive musicianship.

The hushed encore, "Embraceable You," left the audience mellow and Festival Diapente well begun.

Music review

Wynton Marsalis Quintet

Reviewed April 10 in the Van Wezel Performing Arts Hall, Sarasota. - Sarasota Herald-Tribune Co.


-From the Plantation to the Penitentiary
by Wynton Marsalis feat. Jennifer Sanon
-airplay on XMSatellite Raio



Jennifer Sanon born in Florida, is an American, singer, songwriter, solo artist, and actress who began her career at 17 as a singer touring with jazz legend Wynton Marsalis while yet in highschool. Sanon, from the outset of her career, disarmed her audience with a charming personality and uncommonly supple instrument, and a unique touch in singing vintage ballads. Her first debut was in New York with Diana Ross at Avery fisher Hall in a "Ladies in Jazz" concert. Her gorgeous, refreshing tone, color, and wide-open way with a phrase proved a feast for the ear. According to jazz critics she was the first female to be featured with Marsalis' because his small groups rarely feature a singer. By the age of 21 she had already recorded her first album as a featured artist on an album that that sold out in the stores as of the second month they were put out on store shelves. She began writing early at the age of 9, and performed regularly at local events with her family's band. Although recruited to go to Juilliard after graduating highschool, she decided to drop out and pursue her musical career.
Her break through moment came when she landed a record deal with Sony Records, but at the last minute she decided not to sign. There aren't many important jazz vocalists under the age of 50 right now and Sanon has the potential to fill the void, especially with her gorgeous voice, seemingly effortless control, impressive poise, impeccable intonation and solid rhythm. Currently, she is about to make her recording debut at exclusive club Ronnie Scotts this August 2008 in Soho, London.