Sophie Milman©Andrea Canter

“She swings confidently and casually, setting things at ease through her powerful delivery. She reaches down deep for the kind of feelings that provide a memorable experience.” –Jim Santenella, All About Jazz

Born in Russia, spending her early childhood in Israel and then emigrating again to Canada as a teenager, 25-year-old Sophie Milman’s diverse life experiences no doubt inform the passions of her music. Winner of Canada's 2008 Juno Award (and nominated in 2006) for Best Jazz Vocal Album, Sophie’s rise to fame has been meteoric: Releasing two accalimed recordings in two years, selling out the famed Massey Hall in Toronto, and accumulating accolades wherever she goes. Said Don Heckman (LA Times), "Not the next Ella or Sarah but the first Sophie Milman...she is one of a kind." Swinging west on her current American tour, Sophie and her band stop at the Kuumbwa Jazz Center in Santa Cruz on Monday, July 28th.

The past three years have been a blur for those trying to keep up with Sophie Milman: After her eponymous debut recording was release in 2004, it hit the Billboard Top 5 in Canada and the Top 15 in the United States, topped the iTunes jazz charts in five different territories and has sold over 100,00o copies—this in an era where many question the viability of the CD for even the most seasoned performers. At the same time, Milman has toured extensively, headlining sold-out shows in Canada, the U.S., Mexico, Japan, and Europe, all while continuing her pursuit of a degree in Commerce at the University of Toronto.

Sophie Milman’s life has been one of change and cultural reintegration. Born in Russia, Sophie moved with her family to Israel at age 7 following the fall of the Berlin Wall. Yet she brought with her the influences of her native land, Russian folk songs, the music of her Grandfather who was a cantor, some old jazz LPs. In Israel she was selected to tour and perform with a children’s musical theater group. Also during this period Sophie began listening to jazz and American music in general-- Mahalia Jackson, Ella Fitzgerald, Louis Armstrong, Oscar Peterson, Count Basie, the Platters, Stevie Wonder, George Gershwin, Duke Ellington, Ray Charles, particularly the voices and sounds of African American musicians.

But at 16, Sophie was uprooted again when her family moved to the Toronto area, and again she had to learn a new language, new customs. But despite the hardships of the move, Sophie discovered more opportunities to express her love of jazz. “Music gave me a sense of achievement, comfort and turned Canada from a foreign place into home,” she says. “I love Toronto. I love the fact that you can find every type of music in this city: Funk, blues, latin, klezmer, swing, avant-garde jazz, cabaret and classical music, which I also love very much. We have awesome jazz musicians, a killer symphonic orchestra and a lovely opera company. I love Toronto’s openness to new styles and ideas. It creates such an eclectic and rich musical and cultural palette.”

An accidental encounter with producer Bill King led to a few public appearances and a contract offer from Linus Entertainment. Beautiful as well as talented, the media loved her, putting her on the covers of Voir, Klublife, Wholenote, and The Globe & Mail, covering her story in such publications as Hello!, Q, Jazz Times, Elle Magazine, and the San Francisco Chronicle, and featuring her on Entertainment Tonight, CBC, CTV, the BBC, BET Jazz, NPR, and several NBC and Fox affiliates across the U.S. Her debut album earned a 2006 Juno nomination and her appearance in Toronto yielded an I-Tunes EP, Live at the Wintergarden Theater, which debuted #1 in Canada and brought forth considerable accolades. Touring with her band laid the foundation for her new release, Make Someone Happy (Linus Entertainment), named this spring as the 2008 Juno Award winner.

Make Someone Happy

Make Someone Happy

Sophie’s voice has a light, airy vibrato with an occasional smoky rasp. One wonders if she also was listening to Billie Holiday and Canadian “sister” Diana Krall in addition to Ella. For one who has been singing professional for only a few years, she engages in a fair amount of interpretative (if subtle) liberties with the music. Arrangements, handled by Cameron Wallis who doubles on tenor sax and clarinet on some tracks, cover the gamut from stylish swing to 30s hot club to more pop flavors, at times teetering on the edge of overproduction. Overall the upbeat mood will make a lot of “someones” happy. These are primarily short tracks in the tradition of dance bands, most at 3-4 minutes each.

“People Will Say We’re In Love” is a nice beginning as it introduces not only Milman but also her swinging compatriots, her working trio (Paul Shrofel on piano, John Fraboni on drums, and Kieran Overs on bass) who appear throughout, often augmented by other musicians, most notably multi-instrumentalist and composer Wallis, guitarist Rob Pilitch, and harmonicist Gregoire Marat. The second Rogers and Hammerstein tune, “It Might as Well Be Spring,” is another Milman swinger featuring nice interjections from Wallis on tenor and pianist Shrofel. “Something in the Air Between Us,” written by producer Steve McKinnon, has a samba feel that recalls Jobim. The Diana Krall influence in Sophie’s phrasing is not likely coincidental! Wallis adds strings that stay well in the background, giving the track a little orchestral sophistication while Rob Piltich’s guitar it the real sweet addition. “Reste” by Wallis has French lyrics with strong suggestions of Brazilian rhythm. The liner credits omit Pilitch who is clearly Sophie’s main foil in the opening verse before Wallis joins in on tenor. Maybe next time out, Milman will include some Jobim?

“Rocket Love” from Stevie Wonder includes guitar and additional percussion (Alan Hetherington), and is first of several tracks featuring Gregoire Maret on harmonica. With clear reflections of its soft rock roots, complete with some unnamed back-up vocals (or over dubs), Sophie creates a late 60s-70s mood, albeit with more personal phrasing, hinting at cross-over potential if she was ever so inclined. Randy Bachman’s classic “Undun” also has pop appeal with Bachman himself on electric guitar, along with additional strings and horns. There’s a little tropical heat as well and a double pleasure of flute (standard flute and alto flute).

Sometimes the arrangements seem to compete with rather than complement the singer. The centrality of the harmonica on “Matchmaker Matchmaker” from Fiddler on the Roof sees an odd choice, giving the tune more of a country than East European sound, although Maret is a sharp soloist whose sound blends well with the other instruments. “Like Someone In Love” features additional horns and woodwinds, perhaps in excess although the small band takes an energetic spin on its own, Guido Basso exemplary on flugelhorn, and the horns end the track with a snappy flourish. For her part, Milman sells the lyric convincingly, her phrasing elastic, fresh and engaging. “Fever”, one of Peggy Lee’s signature tunes, here is given an unusual arrangement that is less sultry and dangerous, more innocent and narrative. The heavy chords from piano and Hammond B3 (Dennis Keldie) provide more mystery than does Milman. Kudos to Sophie for trying to come up with a totally new approach, but it’s hard to shake expectations for more “sizzle and burn.”

“So Long You Fool” by pianist Shrafel and Sharada Banman flows like a hot club swing, courtesy of Piiltch’s Djano-esque guitar while Milman sounds a bit ike a less intense Madeleine Peyroux.

The title track opens with a lush tenor sax verse from Wallis. This finds an alluring Milman in slow ballad mode, while bassist Kiernan Owens establishes a forthright but lyrical pulse. For a song that has been done so many times, Milman gives it a fresh coat of vocal paint. The very interesting choice of Joe Raposo’s ode to Kermit, “It’s Not Easy Being Green” fits well, supported by the lush quartet including guitar, the spare comping putting the spotlight on Milman. Who knew Sesame Street would the the source of such a beautiful track? Here everyone takes his or her time on the nearly five-minute track, bassist Owens getting plenty of space for a mournful solo while Shrofel is laid-back and patient.

The closing song, “Eli Eli (A Walk to Caesaria)” evokes Milman’s Russian Jewish heritage on several levels. With just piano and cello to support her voice, Sophie seems most closely tied to the traditions of Eastern Europe, and particularly to the music of her grandfather, the cantor. Composer (poet) Hannah Senesh (Szenes) was a young Hungarian writer who studied and worked in Israel, became a champion of Zionist causes, and volunteered for the British Army to help deported Hungarian Jews during World War II. Captured and tortured by Hungarian forces, her death at age 23 by firing squad elevated Senesh to heroine status. Many of her poems were published posthumously, some like “A Walk to Caesarea” set to music. Also known as “Eli Eli” (My God, My God), the song appears at the end of some cuts of Schindler’s List. Milman gives the song an appropriate aching with hints of hope.

There’s plenty here to “make someone happy” and encourage an audience for the live performance, July 28th at Kuumbwa Jazz Center.

The show at Kuumbwa Jazz Center begins at 7 pm. Kuumbwa is located at 320-2 Cedar Street in Santa Cruz; (831) 427-2227; http://kuumbwajazz.org. More on Sophie at www.sophiemilman.com.