I have had the pleasure lately of listening to several very good contemporary female jazz vocalists for the first time. These women have spent serious time on their craft and honed their talents to give themselves completely over. La Tanya Hall and Monique Danielle are two of the best I have heard in a long time. I now happily add Rita Edmond to that list.
The classic Jobim bossa nova "Dindi" (pronounced jin-jee) has been successfully covered by everyone from Jobim himself, Astrud Gilberto, and Frank Sinatra to Claudine Longet(!). Edmond's treatment is very pleasing. After an affecting jazz-tinged vocal introduction, the tune becomes a bossa in earnest. Edmund possesses a deep, expressive voice that is especially impressive in the lower registers. Her tone and phrasing are perfect for the personal story that is told here. Every nuanced syllable brings pleasure.
The tune has also been recorded quite well, producing an intimate and crisp experience. Edmond is ably supported by outstanding musicians, including noted saxophonist Ricky Woodward, who offers a strong solo. You can't go wrong listening to Rita Edmond.
Reviewer: Walter Kolosky
Rita Edmond, Sketches Of A Dream: Rita Edmond's classy debut is focused solely on her rich and intense vocals. It takes a lot of pure talent to breathe life into old jazz standards that have been repeatedly heard, but with Edmond's four-octave range she easily connects with the pure emotions of these songs. My personal favourites include the opening track "Dindi," "You'd Be So Nice to Come Home To," and "Misty" - these are perfect examples of Edmond connecting with the song and her extraordinary band. Sketches of a Dream will take you whimsically away to a hot jazz club and get you grooving and crying all at the same time. (T.O.T.I. Music Inc.) ~ 3.5 Stars
It's not often that a debut vocal album suggests the near-certitude of future greatness, but Rita Edmond's Sketches of a Dream, for which she also shaped all the arrangements and served as her own producer, is of that rare ilk. Backed by a four-octave range and years of gospel-ignited seasoning across North America and Europe, Edmond's recalls two of the all-time greats, reflecting the vocal power and majesty of Sarah Vaughan, the impeccable timing and phrasing of Carmen McRae, and the intense, natural musicality of both. Put in more contemporary terms, she should, in time, become the equal of Dianne Reeves. Not that this collection of 16 standards is entirely flawless. Her percolated treatment of "All the Way" feels inappropriate (or perhaps it's simply that, given Sinatra's definitive version, it's impossible to appreciate it any way other than his), and her "Almost Like Being in Love" comes across a little too urgent and shrill. But such are minor quibbles. The 14 remaining tracks are ideally realized and exquisitely crafted, particularly an unexpected but effective reading of "My Romance" considerably bouncier and more ebullient than most.
Reviewer: Christopher Loudon, JAZZTIMES (Oct. 2008)
“She often sounds like a master architect at work, choosing the perfect note for the right spot. ”Scott Yanow
SKETCHES OF A DREAM is Rita Edmond's debut recording and it's definitely one worth adding to your jazz vocalist collection. The lovely singer has a four-octave range and a voice that is sure to leave a lasting impression on your perspective of a "true" jazz vocalist. The CD is the culmination of her experiences and it shows. You can hear the exemplary intonation, pharsing, and resonance that comes from years of training and honing your craft. On "Dindi" Edmond captures the essence of Jobim's masterpiece with sensitivity and charm. Cole Porter's "You've Be So Nice To Come Home To," swings with ease and is accompanied by the fluid piano grace of Joe Scott. Ricky Woodard's tenor saxophone fills in the spaces between Edmond's heartfelt rendition on "Body and Soul." The classic ballad is one of the better songs on the recording and is an indication of Edmond's versatile voice in a lower octave. Overall, the entire recording showcases the excellence of Edmond in a way you're sure to remember. Click on the CD cover to buy SKETCHES OF A DREAM.
Review: Sounds of Timeless Jazz (March 2009)
Edmond her trio, and her soloists sign a new lease on the great American songbook All About Jazz... Los Angeles, mainstays Rickey Woodard, Nolan Shadeed and Fritz Wise all lend a helping hand to augment Rita Edmond and her trio pianist Joel Scott, bassist James Leary, and drummer Quentin Dennard for the singer's Sketches Of A Dream.
Edmond has chosen a quality program for Sketches of a Dream, 16 strong selections that feature various unique qualities of Edmond's graceful approach and soft vocals. "You'd Be So Nice To Come Home To" is highlighted by Scott's up-tempo piano solo, which propels Edmond to new heights backed by Woodard's romantic tenor. Woodard's Hank Mobley-esque stylings on "Dindi" are perfect pairing with Edmond's dramatic vocal elevations. Edmond's treatment of "Body and Soul" is poignantly moving. She reminds us why a song written over seven decades ago still had uncanny staying power and why everyone from Coleman Hawkins to Sarah Vaughan have all interpreted its allure. An easy going "All the Way" features Shaheed's gorgeous flugelhorn. A spirited and nimble "My Romance" is another opportunity for Edmond's animated voice really gives the Rodgers and Hart classic some added kick. A hushful "Just in Time intro allows Edmond and her trio to really bring the song to an energetic acceleration and really bring out something new from the familiar standard.
But that is just it, Edmond, her trio, and her soloists sign a new lease on the great American songbook and in the process have a created an album full of wonderful surprises. Look for Edmond and her trio performing around Los Angeles. She is worth the effort
Reviewer: Peter Sanchez - All About Jazz
Rita Edmond's rendition of this Gershwin classic is up-tempo and energetic. In contrast to other tunes on Sketches of a Dream, vocalist Edmonds spends this song in the middle and high registers. That could be a result of the song's quick pace. There is also a touch of nasal quality not employed on the other cuts. The band is kicking from the start. There is a wonderful vibe created that takes you back to the days of the song's earlist jazz interpretations. (Contrary to popular belief, that was not when Harry Connick Jr. sang the song for When Harry Met Sally. ) You can visualize Edmond & band really cooking in a nightclub. You can see the smiles on the patrons' faces as they tap their fingers on the tablecloths. Edmond's voice is a real gift. She has obviously been surrounded by the right gift-wrapping.
Reviewer: Walter Kolosky - jazz.com
RITA EDMOND/Sketches of a Dream: While there are a lot of ladies that want to be jazz singers these days, there's not enough of them flying at the top of their game to call this buffet an embarrassment of riches.
When a swinging singer like Edmond comes along, you have more than enough reason to cock your ear in her direction. Serving up a generous set of oldies with enough familiar favorites on board to she makes it feel like a safe bet to jump in. With accomplished players like Ricky Woodard on board you know Edmond isn't just someone throwing it against the wall and hoping it sticks. Jazz vocal fans should have a good time enjoying these new spins on old favorites.
Reviewer: Chris Spector - Midwest Record
"Sketches Of A Dream, is full of superb singing, subtle surprises and swinging performances."Scott Yanow
"What a beauty this is! Great voice with a backing group to kill for. Ricky Woodard, Nolan Shaheed and Joel Scott are sensational!"Peter Kuller - Jazz Presenter
"Said it's one of the best vocal releases they have heard in a long time!"Radio WESM Princess Anne, MD
Despite the 3.7 bazillion recordings of this Erroll Garner classic, I could not immediately recall which one made my memory bells go off so strongly. I'm embarrassed to report that it might have been the comedian John Byner doing an impression of Johnny Mathis. Ooops! Sorry Ella. Sorry Ms. Vaughan. And sorry Mr. Mathis. Actually, I've done a little penance here, making note of yet another beautiful version of the tune. Rita Edmond's voice illuminates the romance of the story with a lot of inner detail and texture. Supported by a very supple band (especially Joel Scott's piano), Edmond makes you realize how great this song is, not diminished in the least by repeated listens and viewpoints.
Reviewer: Mark Saleski _ jazz.com