Dreams Are Meant for Two

Two years ago I had the opportunity to “meet” New York area vocalist PJ Parker through email and review of her debut recording, Intimate. At the time, I noted that “without going outside the sensibilities of a mainstream audience, PJ makes every note and phrase a personal experiment. Her interpretation is defined by nuance rather than by big leaps and twists, which is not to say that she doesn’t reshape notes and phrases along the way. With her delicate but not fragile approach, one senses that PJ has listened extensively to Billie Holiday without any suggestion of imitation. Her tone reminds me a bit of Jane Monheit, not as creamy and more prone to adventure.” About a year later, PJ followed with a set of holiday cheer (It’s Christmas), again a collection of standards and less familiar covers, again offering “intimate” conversation as well as swinging good fun, a bit more adventure.

The adventure continues with the recent release of Dreams Are Meant for Two (PJB Creatives), and now PJ seems more confident, her interpretations taking still-subtle yet more personal directions. In short, Dreams Are Meant for Two is the sort of recording that pushes an already-competent artist into the realm of “talent deserving wide recognition,” and hopefully critics and audiences nation-wide will take notice. Unlike the previous recordings with only piano (Intimate) or piano and bass (It’s Christmas), Dreams finds PJ in front of a larger ensemble. Again she collaborates with pianist Vinnie Ruggieri on the arrangements; bassist Earl Sauls reprises his role on the holiday recording. But this time there’s the additional layers of drums from Tim Horner, guitar from Coleman Mellett, and particularly the bright intensity and melodicism of tenor/soprano saxman Joel Frahm. More voices yield more texture, a richer tapestry on which PJ can weave her magic.

And magic indeed infuses the 15 diverse tracks, covering familiar standards of Irving Mills, Matt Dennis, Harold Arlen, Gershwin and Kern, Hammerstein and Kern; the songbook of Peggy Lee, and PJ herself, with two original tunes and the title track, a newly discovered composition penned by her late father. A pianist/composer/conductor who passed along his love of music, Tom Parker left behind a manuscript that PJ discovered while working on her new recording, a piece without lyrics. Although the tune was undated, PJ “felt a deep sense that this lovely melody had been written to and for my Mom, and more than likely before their marriage.” Adding her own lyrics, “Dreams” became the stunning finale to her most definitive work to date.

“Moonglow” sets the stage for a set that is bright, swinging, often light as a feather but heavy with feeling. The first verse introduces one of New York’s most under-rated reed players, Joel Frahm, in a luscious voice/tenor sax duet. PJ’s light touch on Matt Dennis’ well-covered “Angel Eyes” makes understatement thoroughly sultry, and her phrasing and melodic improvisation signals a more adventurous approach than on the earlier recordings. “Long Ago (And Far Away)” highlights the intricate guitar of Coleman Mellett, and Mellett and Sauls combine to give the track its mildly bossa swing. PJ injects subtle drama, reminiscent of Monheit but more exploratory, particularly as she creates her own horn-like closing verse. The comparison to Monheit seems more on the mark on the sweet “Then I’ll Be Tired of You,” her soprano sure yet delicate, her heart transparent. Mellett offers a perfect solo interlude, a complementary hue on the sonic color wheel, while Ruggieri provides exquisite supporting lines, piano and voice closing in duet. 

PJ Parker

Lost or crumbling love is the theme of adjacent tracks, the medley of Buffy St. Marie’s “Until It’s Time for You to Go”/Jacques Brel and Rod McKuen’s “If You Go Away” followed by “Love Me or Leave Me.”  In particular “If You Go Away” has been covered in a jazz context before, but perhaps never as effectively, in English or French. PJ offers a bilingual interpretation. Sauls opens “Love Me or Leave Me” with a loping solo, PJ joining in with a lilting swing. Love is resurrected on the romping “The Song Is You,” here Sauls skipping along, Frahm trading energetic lines with Horner, and PJ phrasing her lines like a veteran bebopper. 

Two lovely tracks follow, “In Passing Years” (Richard Jensen) in simpatico, exquisite duet with Mellett, and the lower pitched lullabye, “In the Wee Small Hours,” highlighting the delicacy and taste not only of PJ Parker but, most magnificently, of Vinnie Ruggieri. 

Special mention of the original works which suggest PJ Parker has the potential to be a significant songwriter: “So What Do You Say?” is a gentle ballad in the tradition of the great swing-era songwriters, owing as much of its success to Vinnie Ruggieri’s filigree touch and Earl Saul’s unerring time as to PJ’s endearing lyrics and sweet presentation. “Love’s a Logistical Thing” has the swing and sass of a familiar standard, the lyrics the fit, finish and alliteration of a Cole Porterish hit. Joel Frahm finds plenty to chew on as he sails through on tenor, and the rhythm section (particularly guitarist Mellett) would be welcome on any dance floor.  

The grand finale of course is the title track. Writes PJ, “The title haunted me with a vague familiarity as I did write lyrics, and shortly before the studio session I searched for an article I’d saved of my Dad’s, a newspaper story announcing the production of an Army review show co-written by Dad and actor Danny Dayton called ‘Pardon My Brassard,’ which according to my mother, was indeed crafted before their marriage. Listed among the featured songs was ‘Dreams Are Meant for Two,’ a most romantic title amid the predominantly ‘army guy’ tunes...My husband and I extensively researched the possibility of existing lyrics, but none have surfaced. The lyrics I added seemed to write themselves, a simple love song written by a man who had finally found the love of his life.” Recorded at the end of their studio session with just piano and voice, “it was after midnight in the wee small hour of June 17– the anniversary of the wedding of my parents, Thomas and Gloria Parker.” One can not imagine a more fitting anniversary card, presented by two musical voices that fit together like two hearts that share a common dream. 

PJ Parker grew up in New York City, surrounded by the arts and music not only through her father’s influence but also via her mother, a dancer and singer. She recalls performing Mel Tormé’s “Christmas Song” at age three, and taking requests from patrons at Long Island restaurants as a five-year old. She studied voice in five languages at New York University, graduating to work in concert halls, dinner theater, summer stock and musical revues, traveling with show bands and singing with orchestras in New York and Atlantic City. Her recording career is more recent, and one hopes that wide distribution and airplay will bring this accomplished singer and songwriter the critical attention her talents demand. With Dreams Are Meant for Two, PJ Parker has issued a definitive statement of intent—to challenge the heart, to unlock memories, to reinvent the familiar, to entertain. And to do so on her own terms, with her own voice. 

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