Press Release

JAM Magazine's Review of "Are You The One?" This is D. J. Sweeney’s second outing, and on it you can hear her growth as a singer, showing comfort with her material on an ambitious program of standards. While not everything works here, much does, resulting in a pretty satisfying set. The slow opening between Danny and D.J. on the title track has you thinking ballad, but then the band comes in and it turns out to be a swinger with fine extended solos from the whole band, who are all given a tremendous amount of solo space throughout the session. D.J. puts many of her tricks on display here – a little attitude, some bent notes, generally near the beat, and with nary a bit of vibrato. Her voice is a bit softer on “Teach Me Tonight”, an easy swinger with, of course, exemplary solo support from the band. Embrey’s guitar synth opens “Meaning of the Blues”, and Sweeney is fine indeed. There are some tough intervals on this one, and she navigates every one, and captures its emotion as well. Danny’s guitar synth and a bowed solo from Tim Albright are featured before D.J. returns for another chorus. “Sweet Georgia Brown” has worn out its welcome on these ears, but it is followed by a strong “I Only Want Some”, with the guitar synth sounding like a Hammond B-3. This rocker is a highlight of the set. Check out the Cambron shuffle on this cut. D.J.’s tendency to fade off a note at the end of a phrase doesn’t always work, but it sure does here. Opening “I Ain’t Got Nothin’” with just her voice and the Cambron brushes took some guts; the voice is naked without another tone in the air. It didn’t seem to bother D.J. any, and she pulls it off. Clint Ashlock joins on this track and has the obbligato behind Sweeney and a nice solo. Embrey is strong as well. You’ll pick up a couple of clichés on this tune, like on several others – Ashlock entering on the word “trumpet” was a little too cute, for example. (There are other “cute” plays on other tunes that I could have done without, too). But then she follows with “What Are You Doing the Rest of Your Life?”, not an easy song and with a difficult opening phrase that she nails. She pushes and pulls the tempo to nice effect as well. Paul Smith’s entry following Danny’s brief solo is, well, pure Paul, taking the handoff cleanly and playing a beautiful chorus. This is one of the strongest tracks on the CD. Paul opening to “Lady’s In Love” let’s you know it’s a swinger, the kind of song this band will kill every night. Sweeney is fine, gliding over the rhythm, but the band is the show here. I love “But Beautiful”. Listen to Danny’s octaves behind D.J.’s opening, so nice. Sweeney generally lets the song sing itself, but lets the note fall on “fall”, I could have done without that touch. Tim has a fine chorus, and Cambron’s brushwork is all about taste. Keep listening to Albright’s line for awhile behind Paul’s solo, just gorgeous. “Lovely Day” is a great song, with a fine arrangement. I think I’d like to hear D.J. do an entire set of Berlin (and Gershwin for that matter), as she treats the early American pop songbook with love. “Old Devil Moon” is a hot closer, and is taken fast and with a lot of busy-ness from the rhythm section throughout. D.J. takes chances throughout this set. Most work, too, and I commend her for trying them. The material is varied and has some real challenges, and seems designed to not be stuck in one repetitive groove. And no one will ever fault her for hiring this great band. Keep up the work, D.J. — Roger Atkinson

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