PRESS
testimonials and reviews from critics, conductors & composers
for Kristin Chenoweth
“Nathan’s orchestrations are wonderful.”
— Andrè Previn
for ‘The Sparks Brothers’
-
“Everything a Sparks fan could ever want is here. 'The Girl is Crying in Her Latte' features somewhat abrasive moments both musically and lyrically, such as the title track and 'We Go Dancing' respectively, while the Mael brothers' acute sense of melody on songs like [Kelly’s arrangement of] 'Take Me for a Ride' is powerful to say the least. Through it all, the duo never quite lose their sense of outsider humor either. “
— Vernon Warez, RATEYOURMUSIC (2023)
-
“Now in their sixth decade of releasing albums and soon to headline the Hollywood Bowl, the biggest show of their career, it’s hard to think of a band who, for all their sales fluctuations, have been so consistently outstanding for so long… Whatever they had, they haven't lost.”
— John Aizlewood, MOJO 4 MUSIC
-
"The orchestral performance of Sparks’ classic album was aflutter with glissando strings, dramatic pauses, trills, tremolos and countless crescendos. Bravissimo! Each song was given a customized score befitting its character, by award-winning arranger Nathan Kelly. Violin bows were bobbing with millions of 16th notes. Every musician’s feet and heads were tapping and nodding."
— Madeline Bocaro, THIS IS WHAT’S COOL
-
‘Take Me For A Ride’ is a masterful track, not only because of the glorious orchestration by Nathan Kelly, but also with what seems to be the tale of skillful wrong-footing... you can’t see coming.
— Lee Thacker, SET THE TAPE (2023)
-
“Sparks teamed up with the Heritage Orchestra and conductor Jules Buckley to perform Kimono My House, with new arrangements by Nathan Kelly, for 2 nights at the Barbican Hall in London. In February 2015 they performed the album with a local orchestra conducted by Suzie Katayama over 2 nights at the Ace Theatre in downtown Los Angeles.”
— Staff Writer, NPR LIVE SESSIONS
-
Sparks’ 26th Release Keeps The Innovative, Bizarre, Creative, and Skewed Faith... There aren’t many other songwriters in Sparks’ genre, whatever that might be, creating their finest work 50 years on. There may not be any… The Maels’ combination of theatre, dance, prog, electronic, and yeah, pop continues to find fresh ways to entertain. Some songs have choruses, some don’t, most zig when you expect them to zag and every one of them sounds like well, Sparks... But as usual, it’s the quirky songs and artful, casual, sometimes caffeinated presentation that makes Sparks’ music so refreshing in its own bespoke way.”
— Hal Horowitz, THE AMERICAN SONGWRITER (2023)
-
“The duo of Ron and Russell Mael will perform the entire record at London’s Barbican with the 35-piece Heritage Orchestra on December 19. The songs will feature new orchestral arrangements by Nathan Kelly, and Sparks will also sing other favourites from their long career. The Heritage Orchestra are known for their unorthodox approach to music and for working with many new and experimental artists... we’ll also perform a selection of songs from our other 22 albums with blaring symphonic accompaniment. You waited 40 years; the wait is over!”
— Paul Sexton, UDISCORVERMUSIC (20
-
RUSSELL: ”One song in particular [arranged by Kelly], 'Take Me For A Ride,' is really orchestral in its approach and sounds more cinematic even down to the instrumentation..." ZALESKI: One song you mentioned, 'Take Me For a Ride' -- I like that song especially because it feels like a mini-movie. There's a story happening; there's a narrative. And a lot of songs on this record in particular have that characteristic. That's one of my favorite parts about the record.”
— Annie Zaleski Interview with Russel Mael, SALON
-
“The Maels’ continuous streams of curiosity and experimentation over the decades, and a recent upsurge in notoriety following the 2021 Edgar Wright documentary, ‘The Sparks Brothers,’ along with the brothers’ award-winning score of the French film ‘Annette,’ segued into the introspective and satirical storylines of their 26th album ‘The Girl is Crying in Her Latte’… Further into their 14 vignettes are stories of adventure, escape, and more universal tribulations…More baroque orchestration [by Kelly] leads “Take Me For A Ride” and the story of a hitchhiker running from the law in a Chevy Powerglide.
— Tina Benitez-Eves, AMERICAN SONGWRITER (2023)
-
”Returning to their former Island Records home, the Maels emerge with their latest and 26th studio effort, The Girl is Crying in Her Latte. “Take Me For a Ride” (in a Chevy Powerglide) pairs cinematic car chase orchestral swells and crunching electric guitar chords with dramatic narrative lyrics to produce cinematic thrills… There are also hints of the repetitive symphonic nature of 'Lil' Beethoven,' the crunching guitars of 'Hello Young Lovers' and the baroque pop flair of 'Hippopotamus.' This album is a musical melting pot containing something for every Sparks fan to enjoy.”
— Dylan Peggin, TRACKING ANGLE
-
‘Take Me For A Ride,’ is so very Sparks… The repetition remains as Russel Mael frantically asks for a ride while performing impeccable vocal gymnastics to match the instrumental melody. Here we find a musical accompaniment to the getaway scene in a crime musical with its anxious, frenetic movement intercut with chugging guitars and stall-shaking drums. Again though, it's all washed away as we find the gripping narrative is just a shared fantasy between two average people, one which has the best refrain to ever reference a Chevy Powerglide; it’s so very Sparks… It’s no secret that Sparks are one of my favourite bands of all time… Nearly a decade later, I’m still being bamboozled and I wouldn’t have it any other way.”
— Matt Lynch, 102.1 FM RADIO BRISBANE, AUSTRALIA
-
“Sparks’ 21st century resurgence is one of the greatest comeback stories in popular music… ‘The Girl Is Crying In Her Latte’ is their first album since [Edgar Wright’s] film’s release, and finds Ron and Russell riding high on its success... These first four tracks illustrate the album’s two main modes, since most of the tracks fit either the “rock” or “electro-pop/dance” one, or somewhere in between… “Take Me For A Ride” is probably the strongest of these symphonic tracks, though, sounding like classic Sparks backed by [a] Trans-Siberian Orchestra — it shouldn’t work, but somehow it does -- Key Album Track(s): 'Take Me For a Ride'”
— Simon Workman, THE FIRE NOTE MUSIC MAGAZINE
-
“What’s most amazing about the Sparks revival of the last half-decade isn’t that they’ve been resetting popular music boundaries for half a freaking century… Sparks’ constant changes in musical approach are now canon. They’re not contained by a reductive timeline… Even attempts to escape become disquieting. The white-collar couple in 'Take Me for a Ride' can only decompress by role-playing Bonnie and Clyde in a speeding getaway car… Running under all these cinematic short stories are Ron Mael’s gleaming, volatile arrangements. The 77-year-old still gets a kick from straight-up arena rock… Ron has no problem generating rhythm from... metal rhythm guitar riffs ('Take Me for a Ride').”
— Paul Pearson, TREBLEZINE
-
“What can I possibly say about ‘your favorite band’s favorite bands’ that hasn’t been said before? Sparks have influenced many of my beloved musical geniuses – from Duran Duran and New Order to Björk and Depeche Mode… [Kelly’s arrangement of] ‘Take Me For A Ride’ is a tale of Johnny, an outlaw hitchhiker running away in a Chevy Powerglide with Laura behind the wheel. Johnny implores Laura to go faster. The funny thing is that you wind up rooting for the main character, even if he did break the law…and it is as refreshing and relevant as their breakthrough record, Kimono My House, and many subsequent offerings. If you are looking for 14 songs of fabulousness, I present this album to you.”
— Sherry Thomas, THE AQUARIAN
-
“Sparks take to the stage to the orchestral strains of their very own [Kelly’s arrangement of] ‘Take Me For A Ride’ from this year’s album ‘TGICIHL’ the 4 members of the touring band lining up across the back of the stage to allow Russell and Ron Mael room at the front of the stage. Using such a recent song as intro music serves notice that Sparks are not a mere ‘Heritage’ act, but artistically still very much a going concern. There’s nothing wrong with older bands ploughing through the hits every night, but the Maels clearly want to strike a balance between celebrating their legacy and showing that they are still capable of producing great work… The new record is represented by six songs (as well as that intro tape), but… it’s just possible that they will outlast us all!”
— Andy Page, GOD IS IN THE TV
-
“The brothers Mael are incorporating new sounds and concepts, whilst still sounding exactly like themselves. They’re a band we should all embrace… It’s an unusual clash between middle-aged respectability and youth hedonism… there are plenty more pop concepts to be slyly detoured before the album is out... [Kelly's arrangement of] 'Take Me For a Ride' twists the classic rock topics of fast drivin' and law-breakin' into harmless middle-class cosplay, expertly illustrated by a disconnected metal guitar smashing into skittish woodwinds direct from an MGM musical... It's impressive on their 26th album Sparks are incorporating new sounds and concepts, while still sounding *exactly* like themselves."
— David Murphy, MUSIC OMH
-
“Sparks are back on Island records, where they experienced their first success in 1974, one can see there is a lot riding on this album… Sparks not only live up to the expectations, they surpass them. 'The Girl Is Crying In Her Latte' is 2023 Sparks with the classic Sparks sound. The album has a bit of a harder edge to it and is much more electronic-based than their last studio album… [Kelly’s arrangement of] “Take Me For A Ride” is an energetic song that would not be out of place in a musical… This is fantastic album. 4.5 STARS!"
— Aaron Badgley, SPILL MAGAZINE --EDITORS PICK
-
“It's now 50 years later and the brothers from Los Angeles are still doing it! [sic] What really appeals to me about Sparks is that they don't just rehash their illustrious past (they could get away with it perfectly) but that they still evolve musically and remain innovative. For example, the new album “The Girl Is Crying In Her Latte” (14 tracks, 47 minutes playing time) is undeniably influenced by 'minimal' and we do not so much mean minimal wave but the minimal music of Philip Glass, Michael Nyman and the like. The new album also contains fantastic songs such as the great title song and [Kelly’s arrangement of] “Take Me For A Ride.” Score: 10 out of 10.
— Henk Vereecken, PEEK-A-BOO MUSIC MAGAZINE
-
“The Girl Who’s Crying In Her Latte” is superb. [Kelly’ arrangement of] ‘Take Me For A Ride’ stands out with its unique harmonies that defy expectations. Sparks dare to push boundaries and challenge conventional musical norms, delivering a truly distinct experience… There are those people who have “You don’t have to be mad to work here, but it helps” mugs on their desks and describe themselves as “wacky.” Those people are to be avoided at all costs. Then there are those people who genuinely, truly see the world differently. They’re called geniuses. Sparks are the latter.”
— Andy Thorley, MAXIMUM VOLUME MUSIC
-
“The band has an ability to home in on a small detail and blow it up to the most dramatic proportions imaginable... As disparate as these songs are, they are tied together by a sense that no other band could write a song on the subject. They jump back and forth between the touching and the odd, wringing a pathos out of the strangest situations they can imagine. Their music has an operatic quality… Putting on a Sparks album feels like entering a world with slightly different rules. Russell told The Big Takeover that people who enjoy Sparks often have a “sense that they’re part of some special club that is exclusive to them.” The Girl Is Crying is a perfect ticket in.”
— David Meir Grossman, TABLET MAGAZINE
-
"5/5 - A late career masterpiece -The opening title track sets the tempo with an infectious energy that many groups a fraction of the Mael brother’s age would struggle to capture… The video for the track boasts Oscar winner Cate Blanchett cutting loose, showing the appeal working with Sparks still has… [Kelly’s take on] ‘Take Me For A Ride’ starts with a gorgeous woodwind introduction before building into a different beast entirely. [The album] continues the extraordinary run of recent records from Sparks, sounding unlike their previous work while retaining recognizable elements… which results in an exhilarating, wildly unpredictable listening experience and another standout among a pantheon of great albums.”
— Chris Connor, WHYNOW UK MAGAZINE
-
“Continuing on the orchestrated thinking… ‘Take Me For A Ride’ takes an exhilarating tongue twisting journey into dramatic virtual strings, cascading woodwinds and Timpanic romps before the rocking up half way… Sparks have doggedly continued their pursuit of the unconventional and remain as eccentric and fun as ever; their long standing supporters will be more than happy with this new offering.”
— Chi Ming Lai, ELECTRICITY CLUB COMPANY UK
-
“With an underpinning darkness and a brooding sense of urgency that builds throughout, it sets the tone for an album that explores a multitude of soundscapes, each of which exists within its own narrative, set at various places and times… Meanwhile, experimental moments like… [Kelly’s arrangement of] ‘Take Me For A Ride’ deviate from the traditional pop structure and showcase Sparks’ enduring creativity that has sustained throughout their 50+ year career… but on their latest LP they remain as witty, sharp and brilliant as ever, offering up a body of work that stands bold against the backdrop of their masterful catalogue.”
— Connor Gotto, RETROPOP MAGAZINE (2023)
-
”With the 2021 releases of Edgar Wright's documentary The Sparks Brothers and Annette, the award-winning film Ron and Russell Mael made with director Leos Carax, this renewed attention reached a crescendo… and the standout "Take Me for a Ride" [arranged and orchestrated by Kelly] is a symphonic rock thriller that even offers a shocking twist near the end… and it's extra satisfying that this peak in their popularity coincides with music this vibrantly engaging.”
— Heather Phares, ALLMUSIC.COM Review
-
“Since when they have appeared in a biopic for Edgar Wright (‘The Sparks Brothers’) and written a surreal feature film for Leos Carax (‘Annette’), for which they composed and, in a memorable opening scene, performed the music – earning them an Oscar nomination for Best Song… there is the cinematic ‘Take Me For A Ride,’ a miniature movie told by a man on the run from the law in a hijacked car with a stranger called Laura. Or so it seems until it gradually becomes clear what what we are listening to is a couple’s elaborate sex fantasy to spice up their mundane lives. Against all the odds, the 2020s have proved not just fertile, but the most successful of their entire career.”
— Tim Cooper, LOUDER THAN WAR (2023)
-
“The prolific Los Angeles duo Sparks have returned with... a 14-song collection of eclectic instrumentation and irresistibly catchy additions to the band’s extensive catalogue… this is Sparks and this is the record that brothers Ron and Russell Mael wanted to make… ‘Take Me For A Ride’ is a breakneck adventure, soundtracked by xylophones, woodwinds and later joined by a detuned, chugging, metal rhythm guitar that makes the music that precedes it sound haunted in retrospect… There’s a lot of emphasis on pop music when discussing Sparks, but it’s not out of the question to simply define their latest release as purely music, given the massive spread of instrumentation and influences. It’s music made by music lovers.”
— Ryan Meyer, NORTHERN TRANSMISSIONS (2023)
-
"The Girl Is Crying in Her Latte," the title track of their twenty-fifth album is lush and robust; as Cate Blanchett, who stars in the accompanying video… [Kelly’s arrangement of] ‘Take Me for a Ride" is Hitchcockian unhinged… And that's the sort of complementary push-pull the brothers have always trafficked in: highbrow-lowbrow, humorous-sad, pop-niche. They're also genius observers of the world and fantastic imagineers of some world that maybe excited decades ago (or maybe just in their heads).”
— Shelly Rideour, QOBUZ (2023)
-
”Their 26th studio album, 'The Girl Is Crying in Her Latte,' continues the varied excellence… If earlier albums sounded and felt like more stylistically united entities, later albums riot and revel in genre-jumping. If there’s an element that gives Latte tracks musical similarity, it’s electronics… Ron utilizes an intelligent range of tones and textures, including… the music-box bells of [Kelly’s arrangement of] ‘Take Me for a Ride’… Which is a curious comparison, but this is Sparks, whose most consistent trait might be the ability to build fantastical worlds within their songs. The aforementioned “Take Me for a Ride” only seems to be a chase-scene love story with orchestral trimmings.”
— Jon M Gilbertson, MILWAUKEE SHEPHERD EXPRESS
-
“The Mael brothers cement autumnal resurgence with this strong return to their former UK label… [Kelly’s orchestral take on] ‘Take Me For a Ride’ is a a galloping Bonnie And Clyde fantasy chase drama couched in lush, Hollywoood-sized string arrangements. Blurring the line between sunny and sinister, both have some of the sugar-coated oddness of Danny Elfman’s scores for filmmaker Tim Burton... Forever fresh, witty and stubbornly original, Sparks are living proof that weirdness never gets old."
— Stephen Dalton, LOUDERSOUND
-
“Brothers Ron and Russel Mael have spent the last forty-plus years innovating pop music as we know it, and inspiring countless musicians and artists… even legendary artists in their own right, such as Sir Paul McCartney, have gleaned ideas from the group… [Kelly’s arrangement of] ‘Take Me For A Ride’ appears as this former track’s followup, embracing the same theatrical sound and dark vibe. In the vein of musicals… all [are] represented in this eclectic ensemble of songs. It’s little surprise, however, that Sparks have managed to create yet another album, even this far into their career, that challenges listeners by intertwining genres and playing with sounds. It is a delightfully deranged listen from start to finish.”
— Ryan Bulbeck, RENOWNED FOR SOUND (2023)
-
"This album will immerse you in a wonderfully bizarre landscape, one that mirrors reality in some fashion, only it is more fun and kaleidoscopic; bringing with it the sensation of happiness and imagination experienced in childhood… [Kelly’s arrangement of] ‘Take Me For A Ride’ could be taken from a fever induced number in a musical (the best kind, in my opinion).”
— Eimear O Sullivan, MUSICNGEAR EDITOR
-
"The arrangements by Nathan Kelly brought to life the full potential of Sparks’ grand operatic vision... The arrangement of 'Thank God It’s Not Christmas' had the hair on the back of my neck standing at attention like it has not in quite some time... closing out the set with an incredible arrangement of 'Number One Song In Heaven.'
— Erin Amar, ROCKERZINE (2015)
-
“With eyebrows arched and pop culture lampooned, the 26th album from the LA Mael brothers is almost business as usual. Kinda, but not at all vintage Sparks… It starts off strongly with the title track… but But despite some gems, it loses its way…but the Giallo Goblin prog tingle of [Kelly’s arrangement of] ‘Take Me For A Ride’ is a surprising bit of menace.”
— Lorina Irvine, THE WEE REVIEW
-
“This is Sparks’ 26th album since their eponymous debut in 1971, and it might be their best received in decades. It might even deserve that accolade…[Kelly’s arrangement of] ‘Take Me For a Ride’ “Take Me For A Ride” [possess] itchy orchestrations and [its] vocal gymnastics, too, repays regular listen…”
— Dave Thompson, Contributing Editor at GOLDMINE
-
“More soaring strings in [Kelly’s arrangement of] ‘Take Me For a Ride,’ whose soaring big screen style adds weight to the story... and it’s definitely given more punch by the addition of strings; I can’t imagine it having quite the same scope if it had been done entirely on synths... and it can turn on a penny from sweeping orchestral grandeur"
— Paul Ferry, OMNIBUS Review (2023)
“Nathan can write one hell of a good arrangement — because he worked with me.”
— David Foster
Introduce your brand
Take a minute to write an introduction that is short, sweet, and to the point. If you sell something, use this space to describe it in detail and tell us why we should make a purchase. Tap into your creativity. You’ve got this.
for Dionne Warwick
Make it stand out.
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
“Nathan is a knowledgable and imaginative orchestrator.”
— Stephen Schwartz
Make it stand out.
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
Quote Source
“Nathan has worked as my assistant on quite a few projects in New York City. He understands the pressures & personalities of real-world deadlines and demands.”
— Danny Troob
Quote Source
“It all begins with an idea. Maybe you want to launch a business.”
Quote Source
“It all begins with an idea. Maybe you want to launch a business.”
Quote Source
“It all begins with an idea. Maybe you want to launch a business.”
Quote Source
“Maybe you want to turn a hobby into something more.”
for Andrea Bocelli
-
"The song “Quizàs, Quizàs, Quizàs” is a beautiful and romantic Latin ballad, originally composed by Osvaldo Farrés in 1947. Andrea Bocelli, one of the most renowned and beloved Italian tenors, performed a stunning rendition of this timeless classic [arranged by Kelly]. The song captures the essence of love and longing, taking listeners on an emotional journey filled with passion and uncertainty. With its tender lyrics and soulful melodies, “Quizàs” has become a beloved favorite among Bocelli’s fans worldwide.”
— Beatriz Courtney, OLD TIME MUSIC (2023)
-
[Bocelli states ] "I am honored I have performed ‘Quizas, Quizas, Quizas’ [arranged by Kelly] with Jennifer Lopez, an eclectic artist who thanks to the charismatic power of her voice and to her soft sensuality, has managed to make this song particularly convincing. Ms. Lopez’s singing penetrates the subtexts, her vocal talents are combined with the actor’s experience, and the multiplicity of her talents blends in the apparent simplicity of this melody.”
— Leila Cbo, BILLBOARD (2013)
-
“The music of “Quizàs; Quizàs; Quizàs” perfectly complements the poignant lyrics. The orchestration [by Kelly] builds gradually throughout the song, starting with soft guitar strums and gentle piano melodies. As the song progresses, the music swells, adding layers of strings and brass instruments, evoking a sense of growing intensity. Bocelli’s powerful yet nuanced vocals soar above the orchestral arrangement, expressing raw emotions that resonate deeply with listeners.”
— Beatriz Courtney, OLD TIME MUSIC (2023)
-
“Andrea Bocelli and Jennifer Lopez performed the classic Latin song ‘Quizas, Quizas, Quizas,’ a duet featured on the Italian singer's latest album ‘Passione,’ on ABC's ‘Dancing With The Stars’ on Tuesday, April 9… As the power duo sang… [the dancers] danced in a smoke-filled room. I think for once, no one paid attention to the routine, and only had 'eyes and ears' for Andrea and Jennifer's history-making moment.”
— Kevin Apaza, DIRECTLYRICS NEWS
-
”Jennifer Lopez and Andrea Bocelli have recorded a duet that will be included in the Italian tenor's new production. A new video gives us a brief preview of the new single, [arranged by Kelly] which is the cover of the very famous song ‘Perhaps, Perhaps, Perhaps’… After more than 20 years of career, the renowned opera singer seeks a new crossover into the pop world market with his production ‘Passione,’ which will be released on January 29 and includes songs in six different languages.”
— Staff, THE HUFFINGTON POST
-
“When the performance [of ‘Dancing With the Stars’] begins, Andrea stands alone in front of an orchestra, impeccably dressed in a black suit. Smoke swirls about his leg adding to the drama. As he beings to sing, the crowd cheers its approval, both of his skill and choice of song. It may be in Spanish, but the tune is unmistakable. After he has sung a few lines, Jennifer [Lopez] join him… It’s a remarkable performance, which only enhances the beauty and drama of [the] duet. When the performance ends, the crowd goes wild... definitely one to watch.”
— Claire McGregor, THE MUSIC MAN UK (2023)
-
‘Quizàs'... is a catchy Latin song given a standout interpretation, Bocelli cleverly complementing Lopez's sparkling vocal. [Nathan's] arrangement, with a solo violin and whistle, makes for an intoxicating cocktail... David Foster's production, with a 63-piece orchestra, is as smooth as Bocelli's delivery. The employment of instrumental colours from saxophone, guitar, flute and accordion across the palette, played by distinguished instrumentalists, adds variety to deft arrangements…”
— Adrian Edwards, BBC NEWS
-
“We all know that Andrea Bocelli's first love is performing opera, but he also loves to do pop music and when it comes down to it he is more well know for his pop albums… than he is for many of his opera albums. This new recording ‘Passione’ is a pop recording of Italian, Neapolitan (an Italian Dialect), Spanish, Portuguese and English songs and is his third album with David Foster doing the producing [with some of Kelly’s orchestrations]… ‘Passione’ is really a part two of the album ‘Amore.’
— Editorial Review, BIBLE IN MY LANGUAGE
-
“Bocelli also had opportunity to wrk with pop stars Jennifer Lopez… He teamed up with the former ‘American Idol’ judge fort he Cuban classic ‘Quizas, Quizas, Quizas,’ better known to American audiences as the Nat King Cole standard ‘Perhaps, Perhaps, Perhaps’… Though Bocelli has certainly collaborated with his share of big names… he says he was thrilled to work with both J.Lo… ‘The thing about these artists is that their voices, they have a great sensuality,’ he says. ‘They ennobled my record with their sensuality.’”
— Kelli Skye Fadroski, ORANGE COUNTY REGISTER
-
“Yes, ‘Quizàs; Quizàs; Quizàs’ is a beloved favorite among Andrea Bocelli’s repertoire, and he often performs it during his live concerts. The song’s emotional depth and relatability make it a highlight of his performances, captivating audiences with its beauty. It elicits a multitude of emotions, including longing, desire, hope, and hesitation… [and] showcase his incredible ability to convey the heartfelt emotions in the Spanish language.”
— Beatriz Courtney, OLD TIME MUSIC (2023)
-
[Nathan’s arrangement of] ‘Quizas,’ is the eigth most played and most popular Andrea Bocelli music video posted online on YouTube. It has over 62 million views on one music video from Universal Music Group alone.
— CNN Chile
-
‘Quizas, Quizas, Quizas’ features Jennifer Lopez by Andrea Bocelli and include other songs… have enough soaring impact [from Kelly’s arrangement] to bolster two larger than life mega-star singers and is a favorite track.”
— Alissa Montreaux, ANGHAMI MUSIC
-
‘Passione,’ Andrea Bocelli’s ode to romance, completed its second week in the top 10 of the Billboard 200, even as its Spanish-language version, ‘Pasión (UMLE), ‘remained at No. 1 on the Top Latin Albums chart."
— Leila Cobo, BILLBOARD (2013)
-
“Bocelli and Foster also engaged three female duet partners: Jennifer Lopez, whom Bocelli calls an “eclectic artist thanks to the charismatic power of her voice and soft sensuality” on “Quizas Quizas Quizas;”
— ‘Passione’ Liner Notes
-
‘Quizas Quizas Quizas’ is taken from the album ‘Passione’ available on January 29th… a beautiful song [arranged by Kelly] sung by Andrea Bocelli & Jennifer Lopez. Enjoy it!
— Staff Review, THIS IS ITALY
-
”Italian tenor Andrea Bocelli has loosened his bow tie and stepped off the opera stage for an album of love songs and duets… Quizás Quizás Quizás (Perhaps Perhaps Perhaps) is a punchy rendition with pop star Jennifer Lopez – they are surprisingly well-matched… it’s nice to hear the maestro in a relaxed setting and it makes for dreamy listening.”
— Emma Rawson, NOW TO LOVE
-
“The 14th studio album is a beautifully recorded set of 14 traditional and popular love songs featuring duets with Jennifer Lopez and Nelly Furtado… with legendary, Grammy-winning producer David Foster on piano, arrangements by Foster and Alan Broadbent [featuring Kelly’s orchestrations] and Chris Botti on trumpet.
— Staff Review, ELUSIVE DISC
-
”Bocelli’s delivery is irresistible, and these arrangements can be intoxicating… [and] adds variety to deft arrangements [featuring Kelly’s orchestrations] of some very familiar songs. Many of which have been newly minted to suit Bocelli's vocals.”
— Adrian Edwards, BBC NEWS
-
‘Quizas, Quizas, Quizas’ or, to give it is English title, ‘Perhaps, Perhaps, Perhaps’ is an unlikely but rather inspired choice for the singer and brilliantly orchestrated [by Kelly] with lush strings that surround and complement Bocelli and Jennifer Lopez. This arrangement sparkles to da”zling effect.
— Dan Walker, CLASSIC FM RADIO
-
“The effect is transporting... the sensual sound is rounded out by Cuban, Brazilian, & Portuguese rhythms and a 63-piece orchestra that Foster assembled and recorded in London. ‘David has a fantastic feeling for finding the right arrangements and orchestration,’ Bocelli says. ‘The best result is not from those who have the most sophisticated technology, but from those who have the most brilliant ideas.’
— 'Passione' album Linear Notes
-
“Credit must be given to the producer – David Foster, who takes Bocelli from the classical, through to the ‘pop’ songs… Although these ‘pop’ songs don’t stretch his vocals too much – his relaxing tone is a pleasure to listen to. We feel as if these songs will divide opinion and may not be to the taste of Bocelli’s hard-core fan base, but we think it’s refreshing to see him try something a little different and we feel that they really work.”
— Carys Jones, ENTERTAINMENT FOCUS
-
"Renowned Italian tenor Andrea Bocelli – synonymous with love and romance – is the most successful classical solo artist ever and one of the best-selling performers in any genre, having sold more than 80 million albums worldwide of both his classical and pop albums… Passione is in essence the second volume of Amore, with a “fil rouge” which ideally connects the albums… Jennifer Lopez is featured on the soft and sensual track “Quizás Quizás Quizás”
— ‘Pasione’ LP (in Spanish) Linear Notes
-
“To say that romance is a key theme on ‘Passione’ would be something of an understatement, so Bocelli kicks off with this free-sounding little jazz number with ‘Perfidia’ before letting soaring strings rise to a sumptuous climax in [Kelly’s arrangement] of the superb, standard knock-out ‘Quizas, Quizas, Quizas’… Jennifer Lopez and Bocelli mingle seamlessly in pure ecstasy.”
— Editorial Review, CLASSIC FM RADIO
-
“Until now, Andrea often presents duets that can be remembered for a long time. Who can forget 'Time To Say Goodbye' or 'The Prayer'... On the previous album he almost did the same thing… Therefore, he was excited to take Jennifer Lopez… to the studio to record [Kelly’s arrangement of] ‘Quizas'... The biggest praise goes to J.Lo who follows the musical pattern here and walks parallel to Andrea to simultaneously create a sensual atmosphere in Quizas."
— Staff Review, CREATIVE DISC
-
”Straddling classical and popular music but without irritating connoisseurs of either, Andrea Bocelli proves yet again that his voice is universal and his song choices commercially palatable. On this, his follow-up to the four million-selling ‘Amore,’ Andrea duets with a bunch of international stars… [like] Jennifer Lopez... production from multi-Grammy winner David Foster ensures a meticulously romantic collection of slushy international classics.”
— Stephen Unwin, THE DAILY EXPRESS (UK)
-
“Guest appearances on the album include songs with Jennifer Lopez and Nelly Furtado. Lopez sings [Kelly’s arrangement of] ‘Quizas Quizas, Quizas’ (‘Perhaps, Perhaps, Perhaps’) with Bocelli and together, they dazzle and are a great pairing. The song includes a great violin solo, which impresses and it is a very catchy Latin song.”
— Carys Jones, ENTERTAINMENT FOCUS
-
“Looking for a little romantic enhancement? Andrea Bocelli's got you covered. The Italian tenor is targeting the Valentine's Day market with his new ‘Passione’ album… The collection of Mediterranean love songs, plus a smattering of smoochy covers… reunites Bocelli with David Foster, who produced the singer's like-minded 2006 album, ‘Amore.’”
— Kim Willis, USA TODAY
-
“Bocelli is back and his newest album is more glorious than its former sister album ‘Amore’… It is not exclusively romantic but… soars with lush arrangements [by Kelly] and Foster’s lush strings and Bocelli’s soothing timbre and masterful vocal pyrotechnics…”
— Critian De Sardes, UNIV OF CALIFORNIA NEWS
-
“Andrea Bocelli – The Adventure of a Voice” airs tonight at 9.00 pm on Rai2. It will tell the life of the famous tenor between memories, notes and emotions together with… the new album [featuring Kelly’s arrangements] “Passione ” currently at the top of the world rankings.”
— Davide Maggio, ITALIAN REVIEW
-
“Before he became a household name, Andrea Bocelli paid his dues in bars, doing the kind of romantic repertoire that best tickled punters' palates… It's to those times that he returns with ‘Passione’… Elsewhere, his caress of a voice rides subtle samba strings on Latin American cabaret versions of [songs]… and copes manfully with duets with Jennifer Lopez [in Kelly’s arrangement].”
— Andy Gill, THE INDEPENDENT (UK NEWS)
-
“While the accompany of guest artists such as… Jennifer Lopez on ‘Quizàs'… all set a groundwork to Bocelli’s beautiful interpretation, let us not forget the arrangement endeavour of David Foster and [Kelly with] the match of [an] 63-piece orchestra - such background varieties, with violins, guitars, flutes, saxophones, and syrupy strings, are well-suited to Bocelli’s high-ranged vocals… If you would also like to experience sweet sensation of romance and relieve yourself with charismatic power of Bocelli’s voice, do plunge into his musical world..."
— Bauhinia Esther, VARIETY SPICE (2015)
-
”Joining us now is the Producer, a 16-time Grammy-winner David Foster with Andrea who has a new album coming out called ‘Passione.’ One of the things I love to hear about, Andrea, is the early stories about how you got started and how this influenced this new album that's full of passion...”
— GOOD MORNING AMERICA, ABC NEWS
-
“Covered by numerous artists, the Bocelli and Lopez rendition is marvelous. With distinctly different voices, Lopez’s lighter, higher vocal contrasts Bocelli’s more robust tenor sensationally. The playful nature of this duet is a big reason for its success, which seems to capture the intent of the songwriter. In addition to a strong vocal performance, and elite songwriting, the production (Kuk Harrell and David Foster) and orchestration (Nathan Kelly) deserve shout outs. This pleasant duet speaks for itself… Perhaps, Perhaps, Perhaps it’s worth spinning over and over again!”
— Brent Faulkner, THE MUSICAL HYPE
-
”The best gift for Valentine's Day! On ‘Passione,’ Andrea Bocelli collected his favorite love songs. The album is a continuation of the album "Amore", but this time the Italian tenor reaches for many different musical genres. On "Passione" Bocelli performs such timeless hits… and on ‘Quizás Quizás Quizás’ Bocelli also invited pop stars to cooperate -- Jennifer Lopez and Nelly Furtado.”
— EMPIK Review
-
“David Foster, six languages, and love songs. Those are the three great strengths of the album ‘Passione’ from Andrea Bocelli. Not to mention its greatest strengths: soaring vocals and rich and luxurious musical accompaniment, bringing listeners of this album to a truly pampered musical experience. The Mediterranean songs sung create a sensual and exotic feel that blends nicely into the pop compositions.”
— Staff Review, CREATIVE DISC
“Nathan is truly one of those artists continually seeking to learn.”
— William David Brohn
“It all begins with an idea. Maybe you want to launch a business.”
Keith Finley
“It all begins with an idea. Maybe you want to launch a business.”
Monet Goode
“It all begins with an idea. Maybe you want to launch a business.”
Channing Lee
Testimonials, Quotes, & Reviews from artists and critics alike.
for Joss Stone
-
“Joss Stone's 2003 debut, The Soul Sessions, made her an international star and multimillionaire at the age of 16. Almost a decade on… she is older and presumably wiser. She's certainly returned to her debut's soul covers format in more mature and superb voice. Stone has always been a tremendous shouter, but has acquired a vulnerability and ability to truly inhabit emotional songs.”
— Dave Simpson, THE GUARDIAN (2012)
-
“A heroic, no-holds barred makeover that’s as sensual as it is spiritual…. Stone’s take builds imperiously and brims with rue… [Kelly's orchestration of] ’Then You Can Tell Me Goodbye’ has a string arrangement that avoids the saccharine trap... but Stone radiates pain with a conviction and believability she’s never quite summoned before.”
— John Aizlewood, BBC NEWS
-
“A decade removed from [Volume 1’s] five-million-selling debut that put her on the music map, Stone returns to that well with a similarly styled batch of generally obscure 60s soul tunes brought up to date with contemporary production… Stone brings her throaty R&B… in one of this album’s finest performances.”
— Hal Horowitz, AMERICAN SONGWRITER
-
“Her confidence and grit have increased, though that's a double-edged sword. She's become especially reliant on a yowling vibrato that's a terrific fit for the brush-off of "(1-2-3-4-5-6-7) Count the Days" (a special edition bonus track) [orchestrated by Kelly] but doesn't leave much room for vulnerability.”
— Critic Review, THE BOSTON GLOBE (JULY 31, 2012)
-
“A "revisitation" of the idea which launched Stone into the crossover jetstream: ballsy, mannered reconstructions… Girl's got taste. And, as ever, she convinces most at the blowtorch end of her range. [Kelly orchestrated 4 tracks on the album]”
— Nick Coleman, THE INDEPENDENT (UK)
-
“Stone’s strict adherence to formula plays against her here, as Vol. 2 feels overly familiar from the very first notes of opener [of Kelly’s orchestrations of] “I Got The Blues” There’s certainly no faulting any of the arrangements, performed with slick professionalism by a small army of veteran session musicians.”
— Jonathan Keefe, SLANT MAGAZINE (2012)
-
"It may have been conceived as a time-buying stopgap, but 'The Soul Sessions: Vol 2' is Stone’s most focused and rewarding album since Vol 1. When she starts writing for herself again, she'll have to really up her game."
— John Aizlewood, BBC MUSIC (2012)
-
“In 2012 the purpose of The Soul Sessions, Vol. 2 is to signal how she's done messing around with fleeting fashions and is getting back down to the real business… giving these smooth tunes a bit of a polished Southern spin."
— Stephen Thomas Erlewine, ALL MUSIC REVIEW
-
“[Stone’s ‘Soul Sessions, Voi. 2’] is given a startling, spirited remodel. Presumably now with the freedom to record whatever she wants… [and] suggest an aficionado of soul. After some so-so self-penned album… this is a powerful, heartfelt and classy comeback.” (4 out of 5 stars)
— Dave Simpson, THE GUARDIAN (2012)
-
"Professional" is the operative word here: this is the work of seasoned veterans who play with every note falling neatly into place, stretching just enough to show off their chops but never enough to alter the DNA of a song… [the album] does feel right: it has the form and sound of classic soul… for an audience that agrees with that thesis, this is fun.”
— Stephen Thomas Erlewine, ALL MUSIC REVIEW
-
"I really had fun revisiting 'The Soul Sessions' idea and I'm really pleased with the results," Joss says. "I've committed long term to my label Stone'd Records, but it felt right to team up with Steve Greenberg and S-Curve again for this release. I think there are some great songs on the album and I loved performing them with such brilliant musicians [playing the orchestrations by Kelly].”
— BILLBOARD MAGAZINE (JUNE 4, 2012)
-
“As long as the original recordings by the Chi-Lites and the Rolling Stones continue to exists, Sessions' covers are passionately pointless… still, the arrangements are well-conceived and the slick orchestration [by Kelly] do off r much in contributing energy.”
— ENTERTAINMENT WEEKLY [3 Aug 2012, p.74]
-
“The 25 year old British singer has compiled a handsome collection of seventies and eighties covers, some more well know than others, to make up this stellar album… The headline however, has got to be the highly polished version Womack & Womack’s famous ‘Teardrops’ [orchestrated by Kelly]... The hour long compilation is an admiral one, and comes with a strong recommendation.”
— ROSS CAMPBELL JOURNALIST
-
”Her sixth album, ‘The Soul Sessions Vol 2,’ attempts to relive the success of her debut with nice… covers of songs by the likes of Linda Lewis and The Chi-Lites…. The best tracks, ‘Teardrops’ [which Kelly orchestrated] and ‘Pillow Talk,’ are great because she restrains herself.”
— Emma Rowson, NOW TO LOVE (New Zealand)
-
“Just under a decade ago the then 16-year-old chanteuse Joss Stone released ‘The Soul Sessions,’ making her a global success almost overnight… Cuts… all benefit from her warm and honeyed croon and the production by Steve Greenberg [and orchestrations by Kelly] effectively classic yet modern… Fans will love hearing the old school sounds getting a bit of a polish.”
— Edwin McFee, HOT PRESS (Ireland)
-
“Joss Stone is back on form now, after a rough period blighted by cons, contracts and hair colour… The album shifted more than five million copies - which could have been a hard act for her to follow but Stone went on to score a UK number one and US number 11 with 2004's hip-hop imbued follow-up… Teamed with such simpatico musicians as The Isley Brothers'… and the keyboardist Clinton Ivey… she dazzles on cover versions of the ‘While You're Out Looking for Sugar’ and ‘I Don't Want to be With Nobody But You.’ 4 out of 5 stars.”
— James McNair, NATIONAL NEWS - ARTS & CULTURE
-
“Stone’s in fine, strutting voice but the sensitive hesitation of a new singer tackling soul gems ten years ago is replaced by confidence that leads to a tendency to oversing as her star has risen. Still, with seldom-covered nuggets from Labi Siffre and Linda Lewis getting the Stone treatment, she and her producers have structured a pretty terrific hour-long, 15-track listen that proves the UK singer is serious about her classic American R&B.”
— Hal Horowitz, AMERICAN SONGWRITER
-
“Stone's sixth album is a counterpart to her first – 2003's multi-platinum debut of 60s and 70s covers on which the then 16-year-old sagely aligned herself with old-timer luminaries such as Betty Wright and Benny Latimore. This time… it's the 70s and 80s that have been mined… and though her mighty voice is technically irreproachable throughout, every track is attacked with all the timidity of a tsunami.”
— Hermione Hoby, THE OBSERVER (UK)
-
“Joss Stone has returned to the format which initially brought her attention: a set of soul-based covers, helmed by producer Steve Greenberg, with a talented backing band. Womack & Womack's ‘Teardrops’ [orchestrated by Kelly] is given a swoony string-laden rework… and a couple of others… is an interesting proposition, like her early White Stripes cover ‘Fell In Love With A Boy.’ It's a striking, modern original that sounds entirely different as a soul song, but she makes it accomplished and appealing, if not quite genius.”
— NEW ZEALAND HERALD
-
“Recorded over two live recording sessions with a band, Stone sticks to what she does best — performing 11 tracks sonically reminiscent of the ’60s Motown vibe (Pillow Talk) or the classic R&B of the ’70 and ’80s (Teardrops) [orchestrated by Kelly]… Stone shines most in her soulful ballads… she offers incredibly controlled and relaxed coos; and the album finishes nicely with [Kelly’s orchestration of] ‘Then You Can Tell Me Goodbye,’ a stripped-down and unrestrained version that showcases Stone’s effortless voice. The album more than satisfies.”
— Vincent Lee, TODAY ONLNE
-
“Many reviewers have highlighted the old-meets-new aesthetic of ‘Volume Two,’ which sees Stone and her ace band giving authentic and stomping and heart-rending renditions of classic songs like The Chi-Lites' 'Give More Power To The People', Womack & Womack's 'Teardrops' [orchestrated by Kelly], Sylvia's 'Pillow Talk', and an old-style reinterpretation of a modern song, the Broken Bells' 'The High Road', all set in a sound-image that's distinctly modern.”
— Pal Tingen, SOUND ON SOUND MAGAZINE
-
“During a recent visit to Rolling Stone’s studio, Stone reflected on her growth since her first album and how working on Volume 2 was quite different than the first time around… Though recording the first Soul Sessions was a little more straightforward, Stone admitted her new, looser style had a big influence on the recordings. “Now, I’m kind of a little bit more spontaneous. I like to get everyone together and we just basically have a jam, and have a little laugh, play some music,” she said.
— Patrick Doyle, ROLLING STONE MAGAZINE (2012)
-
“For someone so musically addicted to re-introductions… she's going back… How does she commence? By covering the esteemed Labi Siffre, only to giggle when his “I Got The [Blues]” [orchestrated by Kelly] lifts to a familiar bridge — one Dr. Dre famously sampled for Eminem's “My Name Is.”
— Justin Strout, SAN ANTONIO CURRENT
-
“The singer's gravelly-yet-dulcet voice has lost none of its power, and at the ripe old age of 25… now sounds as though she's lived a bit... Blaxploitation guitars, funky clavinet and acid-jazz flute all figure on a lithe, Issac Hayes-like arrangement of Linda Lewis's ‘Sideway Shuffle,’ and there's sweet soul organ galore on Womack & Womack's ‘Teardrops’ [orchestrated by Kelly]… This is tasteful, beautifully-framed soul music. Stone sounds completely at home and at the top of her game. EMI must be kicking themselves.”
— James McNair, THE NATIONAL NEWS (UAE)
-
“It’s a little bit old-school, full of soul, and ultimately focused on the music. Spontaneous Stone, who can record a brilliant album in a matter of days… Stone electrifies again with the sequel to her debut, ‘The Soul Sessions Volume 2,’ out July 31st… The album includes 11 soul covers and in June was previewed… to sold-out audiences.”
— Madison Moore, INTERVIEW MAGAZINE
-
“The second installment of ‘The Soul Sessions’ is everything that we've hoped from the singer… Joss opts for a few of soul's decades old, lesser known gems this time around… Cruising through the catalogs of Womack & Womack [orchestrated by Kelly]… a now 25-year-old Stone is much more self-assured in her talent and ready to tackle these songs with the respect and soul they deserve… Not only does she do the songs here justice, she finally delivers on the promise that her debut foretold.”
— D-Money, SOUL BOUNCE (2012)
-
“The 25-year-old English singer rose to fame as a teen with her debut album of cover songs. Nine years later, she's released a hit sequel… Interviewer: “Do you have a favorite song on the album?” Stone: 'I Got the Blues;' [orchestrated by Kelly] ‘I love the strings, the organ, the whole thing. I really like how it changes pace halfway through. 'Teardrops' [also by Kelly] and 'I Don't Want to Be With Nobody But You' are good ones, too."
— Sierra Tishgart, TEEN VOGUE (2012)
-
‘The Soul Sessions: Vol. 2’ debuted at #6 six on the UK Albums Chart, Stone's first top-10 album in the United Kingdom since ‘Mind Body & Soul.’ In the U.S., the album debuted at number 10 on the Billboard 200, with first-week sales becoming her fourth Top-10 album on the chart. In continental Europe, it reached the Top 5 in the Netherlands and Switzerland, and the top 10 in Austria and Germany.”
— Statistics, BILLBOARD MAGAZINE
-
“This time Stone has done the near impossible: she has caught lightning in a bottle twice… [The musicians and Kelly’s orchestrations] ground Stone in a sense of time and place and authenticity in a way that more modern players likely could not… A revamp of soul and country classic “Then You Can Tell Me Goodbye,” [orchestrated by Kelly] with just acoustic guitar and strings, shows off her softer side.”
— Melinda Newman, UPROXX
-
“A powerful, heartfelt and classy comeback. 5 out of 5 stars. I’ve always been a fan of Stone; even before I listened to her new single I knew that I wouldn’t be disappointed… You can almost feel the fire fuelled behind her powerful vocals. The original is a terrific song but Joss Stone’s interpretation blows it out of the water… Soul Sessions, Volume 2 has already gathered positive reviews from the likes of ‘The Guardian’ and ‘The Sunday Times.’”
— Emma Barlow, EMALE FIRST (2013)
-
“Album Producer: I went… to record a 30-piece string orchestra... [and] Joss also sing two lead vocals in Prague, for good reason. The songs were 'Then You Can Tell Me Goodbye' [by Kelly] and 'One Love In My Lifetime.’ She had sung overdubs on these in Nashville, but she wasn't really feeling them, and was not happy with her interpretation. Once the strings had been overdubbed, she immediately knew how she wanted to sing these songs, and so, in typical Joss Stone fashion, she went in the next day, did three takes of each. She goes in, she warms up with the first take, then does it again and it's really good, and the third take is even better and that's it.”
— Paul Tingen, SOUND ON SOUND (2012)
-
“Joss Stone returns with a second volume to her blue eyes soul interpretation chosen carefully and executed with beauty layered around Joss’s fine grit vocals.”
— WMTD Baltimore Radio (2016)
-
“On her sixth album Joss Stone does what she does very well… Whether ripping into The Chi-Lites’… or rendering a smoochy, simple take of ‘Then You Can Tell Me Goodbye,’ [orchestrated by Kelly] the latter perhaps the album’s finest moment, her voice delivers the songs with more southern US sass than a girl from Devon has any right to possess… This ensemble has lots of fun delivering requisite funk, Hammond, wah-wah, and groove on songs such as Womack & Womack’s ‘Teardrops’ [also orchestrated by Kelly] Given the multi-millions Stone has sold, there’s clearly a huge market for these.”
— Thomas H. Green, THE ARTS DESK (UK)
-
“[Volume 2's ] gems include a half-tempo version of the Womacks' "Teardrops"and a stately reading of Eddie Floyd's "Nobody But You” [both songs being orchestrated by Kelly].”
— Staff Review, UNCUT MAGAZINE [Sep 2012, p.86]
-
“The original ‘Soul Sessions’ sold 5 million copies worldwide and peaked at No. 39 on The Billboard 200. The 2012 sessions, recorded in April in Nashville, features a seasoned lineup of musicians including Ernie Isley, Delbert McClinton, Muscle Shoals’ Swamper Clayton Ivey and soul singer Betty Wright… [and feature Kelly’s orchestrations]. Stone has been quite prolific since in recent years. Since ending her contract with EMI in 2009… she self-released… “LP1” last summer and has recorded at least two more additional albums.”
— Andrew Hampp, BILLBOARD MAGAZINE
“It all begins with an idea. Maybe you want to launch a business.”
Keith Finley
“It all begins with an idea. Maybe you want to launch a business.”
Monet Goode
“It all begins with an idea. Maybe you want to launch a business.”
Channing Lee
for Jackie Evancho
-
“Nearly a decade after America’s Got Talent turned her into an overnight sensation, the former child prodigy returned once again compete on ‘America’s Got Talent: The Champions Finals’… For her performance, Jackie chose the song “Somewhere” from the Broadway Musical West Side Story that was released in 1957. It’s still one of the most powerful songs ever written in the theater world, but Jackie brings it to a whole new level. “That song is absolutely one of my favorites to sing live, and I really just wanted to kind of show everybody my favorite songs and a new way of presenting myself,” said Evancho.”
— Review, MADLY ODD
-
“Released just a few months after her first full-length outing, ‘Dream of Me,’ ‘Heavenly Christmas’ revisits the yuletide splendor of ‘O Holy Night’. At ten songs, it manages to expand her seasonal repertoire… ("The First Noel,” “O Come All Ye Faithful,” “O Little Town of Bethlehem,” [all three orchestrated by Kelly]… Evancho's vocals are impressive as always, and the arrangements… tasteful.”
— James Christopher Monger, ALL MUSIC
-
“In December 2011, Evancho made talk show appearances on all the major television networks to promote ‘Heavenly Christmas,’ singing "The First Noël" [featuring Kelly’s orchestrations] on ‘The View’ and ‘The Talk’… as well as giving solo concerts in Buffalo, New York; Atlantic City, New Jersey; and Pittsburgh, in mid-December 2011… on 20-city tour. The album entered the Billboard Classical Albums chart at No. 1, the Holiday Albums chart at No. 3, and the Billboard 200 at No. 16, peaking at No. 11 there in its sixth week of release.[5][17] It rose to No. 9 on the Canadian Albums chart in its fifth week.”
— Evancho, WIKIPEDIA
-
“On her 2019 album ‘The Debut,’ Jackie turns her attention to Broadway. Jackie has matured into a wholly unique vocalist. She knows where to apply softness and where to apply strength in her delivery… While most of the tracks are commonly referred to as New Broadway, there is a genuine classic in amongst these new gems: “Somewhere” from West Side Story [arranged by Kelly]... Technically, it is a ‘Broadway’ album but it could just as well be classified as Pop, Classical Crossover, or even Adult Contemporary.
— Steve Schnee, AMPED DIGITAL MAGAZINE (2019)
-
“Without doubt, she knows her strengths and played to them by combining well-rehearsed pop songs with an intriguing variety of inspirational Broadway numbers… Evancho made it a point to include a lot of current Broadway material along with classics… [Evancho said,] “If I were to pick a single best performance of the evening, it’d have to be one of the classics and the choice would be between ‘The Impossible Dream” and “Somewhere,’ [‘Somewhere’ was arranged by Kelly]. When she sang ‘some day a time for us from the latter,’ it was as if she had spoken to the whole crowd and told them that their ‘54 Below’ rendezvous was as secretive as Tony and Maria’s.”
— Chris Struck, CABARET SCENES (2019)
-
“The small blond girl in a pink dress made quite the first impression [on ‘America’s Got Talent’]. She went on to place second on the reality TV show… She poured through a long list of Broadway songs — looking for lyrics she resonated with and melodies she liked — before selecting 10 to cover. All of the songs on ‘The Debut’ are from the 21st century. Covers come from ‘Hamilton,’ ‘The Greatest Showman’ and [Kelly’s arrangement from ‘West Side Story.’]
— Amanda Hancock, THE DENVER GAZETTE (2019)
-
“‘The Debut’ (2019), [is] her eighth consecutive release to reach No. 1 on the US classical albums chart). [Kelly was copyist for all arrangements and additional orchestrator on several tracks, and solo arranger and orchestrator on 'Somewhere']”
— TUNEFIND (2019)
-
“In late 2011, Evancho's sophomore album, ‘Heavenly Christmas,’ [which features three orchestrations by Kelly] was released exclusively through American retailer Walmart. The album debuted at number one on the Classical album chart, becoming her fourth consecutive work to do so. It also debuted in the top 20 of the Billboard 200 albums.”
— LAST FM (2019)
-
New List Item
Description goes here
Quote Source
“It all begins with an idea. Maybe you want to launch a business.”
Quote Source