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Pull Quotes:

On Just A Wish Away... Bogart serves up a flavorful musical gumbo that’s a taste of the artist at the height of her powers.
- Melanie Young, Living Blues

Deep, soulful songs and masterful musicianship make Just A Wish Away the kind of record you wish we could hear more of.
-John The Rock Doctor Kereiff, Gonzo Online

Deanna Bogart keeps getting better and better. Her latest release, Just a
Wish Away
is an instant classic featuring outstanding songwriting and
superb performances.

–Phillip Smith, Phillycheeze's Rok and Blues Reviews

"As deep as Bogart’s musical roots are, Pianoland has enough polish and pop sensibility to appeal to a wider audience.
Here’s to hoping that Deanna Bogart becomes a household name."

–Jon Kleinman, Elmore Magazine

"We fell in love with this CD from the first listen. The music is light and airy. It has space, and that is an integral part of music that many musicians forget to use. We also fell in love with Deanna's piano playing. It's unique, and it's filled with humor and spontaneity."
– Barrelhouse Blues

"Pianoland is more than just a good album, it’s a really, really good album – maybe even a great album”– by an engaging musical talent."
–Bill Wilcox, Twangville

"...it’s the soulful ballads and sublime pop interpretations that ultimately distinguish “Pianoland” and help make it Bogart’s most rewarding and well-rounded album yet."
– Mike Joyce, The Washington Post



by Paul Doell

The multitalented Deanna Bogart took the title of this album from a lyric in “Conversing with Lincoln,” a Bogart original co-written for this collection with bassist Charlie Wooton of Royal Southern Brotherhood. This tune – an imaginative ode to individual pursuit of ideals – reaffirms Bogart’s widely acknowledged gift for song craft, complemented throughout Just a Wish Away by Bogart’s distinctive piano, mood-setting sax and lush vocals.

Just a Wish Away, Deanna’s fourth release for the venerable Blind Pig label, was recorded at Dockside Studios in Maurice, Louisiana, and the local inspiration is evident on “Fine by Me Good Bayou” and other cuts. Supporting players include Wooton, guitarist Derwin “Big D” Perkins of Jon Cleary’s band, drummer Terrence Houston, who worked with the Meters’ George Porter, and the Bonerama Horns, who’ve backed Harry Connick Jr. and others. But there are elements of Nashville and California here as well, and hints of Bogart’s native Detroit and New York City, where Bogart studied at the Brooklyn Conservatory of Music, confounding the faculty by playing piano by ear.

Bogart wrote seven of the album’s 11 diverse cuts, including “Collarbone,” a slinky, brassy instrumental, the rocking slide-driven “If It’s Gonna Be Like This,” and “Back and Forth Kid,” a beautiful ballad featuring Deanna solo – expressive singing and exquisite piano are all this song needs.

Covers include Stevie Ray Vaughan’s “Tightrope,” Sly and the Family Stone’s “Hot Fun in the Summertime” and the jazz standard “By Bye Blackbird” – in all, a compelling set from an inventive, intriguing artist.

Alternate Root

the alternate root aug. 2014

I have always thought that Deanna Bogart deserved every bit of the credit she receives for her artistry. Her musicianship on al of her albums is top shelf, garnering her multiple awards for her instrumental talents on piano, saxophone and bandleader. Just a Wish Away stays true to Deanna’s brand of boogie woogie blues, adding in New Orleans rhythm, horns and pedal steel guitar. The music signifies no change in direction yet it points to an artist who has been able to brand her style and sound since putting her own band together in 1988. There is an almost physical sense of excitement coming from the structured jam of the playing. On Just A Wish Away Deanna Bogart involves herself in the songs with more depth. Owning her ability to script and play for a Deanna Bogart alum.

The groove gets under your “Collarbone” as it prances to cool funk lines. The music finds country soul in “If You Have Crying Eyes” , is in a hurry to tell its tale over equally hurried beats in “If It's Gonna Be Like This” and sees the taillights fading on a “Back and Forth Kid” bouncing between family. Deanna’s words back her stories with characters whose cuts will scar as they walk a “Tightrope” between day and night, they showcase hearts set on making fairy tales come true asking “What Is Love Supposed To Do" and put a spotlight on the character working the toll both as one life passes and another comes through uttering “Maybe I Won’t”. History gets African rhythms in “Conversing With Lincoln" and “Fine By Me Good Bayou” heads for the back Louisiana country where some of the album tracks were recorded. Deanna Bogart ups the ante on songwriting with Just a Wish Away, gaining an even cooler cred with cover versions. Blue jazz is in the guitar chops and Deanna’s ever-present sax pumps in “Bye Bye Blackbird” and a seasonably warm weather cool jazz settles on Sly Stone’s “Hot Fun in the Summertime”.

July 14, 2014
JOHN EMMS
http://jemzz.wordpress.com/2014/07/01/deanna-bogart


DEANNA BOGART’S new album Just A Wish Away has chops that simply mesmerize.
But as many folks already know, this is not a straight, or even blues blend album.Bogart tries on a lot of genre hats. The excellent ‘Maybe I Won’t’ is an example of this. A great song, influenced by a soul/blues mix.

Straight out of the box, the galloping ‘If It’s Gonna Be Like This’ mixes country and slide induced rock n’ roll, ‘Fine By Me Good Bayou’ brings on the “answering” Bonerama Horns, while ‘Back and Forth Kid’ simply is one of the most intimate songs I have heard in 2014.A gorgeous ballad it is breathtaking in it’s scope lyrically and dynamically.

Elsewhere the covers, a funky version of Sly Stone’s ‘Hot Fun In the Summertime’, and a jazzy take on SRV’S ‘Tightrope’ has a killer piano solo but does not fire you up like the original. ‘Collarbone’ an instrumental, shows off a superb tenor sax solo from Bogart, and ‘Conversing With Lincoln’ with it’s Paul Simon ”Graceland” hook are examples of how this is just straight up great playing by the whole band.

Goldmine
DEANNA BOGART
Just A Wish Away
Blind Pig (CD)

It was only a matter of time until Deanna Bogart transcended the deal she signed with blues label Blind Pig to record a wildly stylistic hop-skip-and-a-jump album that traverses country, jazz, R&B and rock 'n roll.

After all, the Detroit-born piano player, saxophonist, singer, songwriter and producer started out in a Maryland-based Western swing band before honking some hard R&B with Root Boy Slim in D.C. After an impressive 1990 debut ("Out to Get You"), 2007's "Real Time" and 2012's "Pianoland" (all three blues-drenched), she must have wanted to fly. And fly she does - with trombone and pedal steel added to the mix.

With world-class players from the bands of Springsteen, Harry Connick Jr., Spyro Gyra and Janelle Monae, Bogart has fashioned a true contemporary sound with her own vocals, compositions, Wurlitzer organ, piano and sax leading the way. The covers are sublimely picked: hear her blow (and breathe new life into) "Bye Bye Blackbird," all she needs now is Joe Cocker! Her version of Sly & The Family Stone's "Hot Fun in the Summertime" should have been the summertime song of 2014. It's that good. And you'd be hard-pressed to find a better songwriter's work to cover than John David Souther's (just ask Linda Ronstadt). Bogart's version of Souther's "If You Have Crying Eyes" (done as a duet with Chris Jacobs) is a No. 1 smash hit in an aternate universe where talent is the only requisite.

-Mike Greenblatt



FOR PRESS AND MEDIA INQUIRIES EMAIL:

info@deannabogart.com

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click for " PIANOLAND" REVIEWS


" JUST A WISH AWAY" REVIEWS

Deanna Bogart, 
Just a Wish Away 
(Blind Pig, 2014)


This is a good time to be Deanna Bogart. A long-established, multiple award-winning singer, pianist and sax player, Bogart on this album appears to have taken a quantum leap ahead of her already well-developed musical persona. Just a Wish Away shows us an artist at the peak of her considerable powers, a confident singer-writer-arranger with a sure vision and the chops to communicate that vision to an audience.

Although Bogart has never been a slouch at recording and her previous albums have been fine, this just might be her best yet. On it, she expands from her blues-rock-jazz background, bringing out the touch of New Orleans that has always been present in her music. The horn sections remind me of Allen Toussaint while the addition of the occasional pedal steel and lap steel guitars keep the arrangements from falling into a predictable bag.

On this album, Bogart has assembled a great band, bringing in Harry Connick Jr.'s Bonerama horns, Marty Rifkin from Springsteen's band and Scott Ambush from Spyrogyra, among other masters, to build a sound palette that doesn't deviate all that much from she's done on recent albums but definitely pushes it forward into new territory.

Her deep, smoky and soulful voice resonates with the band; from the unity achieved in the voice and instrumental arrangement blend, you'd think they'd been a performing unit for years.

As for the songs, let me single out "Back & Forth Kid," a ballad in which she talks to an old flame, wondering what he's thinking now. It doesn't lament what the singer has lost; instead it points out to the ex-flame what he has lost, but in a compassionate, rather than angry, tone. "Fine By Me" rocks like crazy while the lyrics in "What is Love Supposed to Do?" take wonderful twists. The album closes with a New Orleans marching band trad jazz arrangement of "Bye Bye Blackbird" that is simply nothing but fun.

In addition to the originals, Bogart comes up with some great covers. Doyle Bramhall and Stevie Ray Vaughn's "Tightrope" get a good workout, while Sly & the Family Stone's "Hot Fun in the Summertime," featuring Bogart on the Wurlitzer organ, sounds brand new. Bogart has a way of finding something unique in her interpretations of existing songs that makes them interesting in ways different from the way they were interesting before.

As I said, this is a good time to be Deanna Bogart. It is also a good time to be a fan of hers.

Rolling Stone

Deanna Bogart: Just A Wish Away (Blind Pig)

It struck me earlier when listening to Selwyn Birchwood’s excellent Alligator Records set that both that label and San Francisco’s Blind Pig are fascinating examples of companies that are determinedly pursuing authentic music styles—be it blues, R&B, jazz, rock ‘n’ roll or all areas in between—and regularly documenting them via releases just like this one. Deanna, a multiinstrumentalist (keyboards, sax, vocals), offers up a very solid set via this fourth Blind Pig effort, with fine songs, an excellent, well-pedigreed band of players, the sort of energy that has populated her work for years—she played with Root Boy Slim in the mid-‘80s, no less—and the sort of authentic enthusiasm for music that is absolutely contagious. Massive pop hits? No way. But very reassuring for long-term music fans
nonetheless.



Blurt

BY TOM CALLAHAN

After honing her craft and leading her own band for over two decades, Deanna Bogart has become one of the greatest musicians and songwriters working in America today. She proves this in her ability to grow and create new musical paths on each album. She just keeps getting stronger each time out. Her latest Blind Pig release–Just A Wish Away… chronicles a yearlong personal and musical journey from Nashville to the high desert of Southern California to the Louisiana Bayou, where the album was recorded. It is a very good CD.

When you first encounter Bogart, the word that comes to mind is virtuosity. She is an excellent piano player but also excels on sax. Indeed, she captured Blues Music Award for three consecutive years for her horn work and was honored another year for her piano playing. She calls her sound “blusion.” Just as she defies simple categorization as a musician, so too does her music capture a lot of different genres: blues, country, jazz, swing, boogie woogie, even standards.

On Just A Wish Away… that musical diversity becomes clear on the first track—“If It’s Going to Be Like This”—as the first discordant piano notes gives way to a country swing sound. Or listen to the horn driven jazz sound of “Collarbone.” She ends the album with the classic “Bye, Bye Blackbird” that starts out as something you might hear a New Orleans’s marching band perform.

Bogart is the real deal; it is not just her playing, but her songwriting that has matured to the point of greatness. Her writing is full of life in all its joy and sadness. Listen to a sad and slow country tinged song like “If You Have Crying Eyes” and you can feel the true emotion, where she sings, “Oh, the night is a river where the lonely are drowned.” Contrast that with the swamp swing of “Fine By Me Good Bayou” where, on the video, Bogart leads a great horn section and takes a sax solo herself atop a bar. You can see the pure joy in her eyes and her sound. This is fun.

All of this adds up to Just A Wish Away… being one of the best albums of 2014. But Deanna Bogart has accomplished something even better here, if possible. Like a jazz artist, she is not afraid to be creative and follow her muse wherever it takes her. And in the process her music has become transcendent as only the greatest artists can make it. Her music has the ability to actually give you hope when precious little hope remains and give you joy when you need it most. She can both reflect the darkness around us and dispel it on the same CD. That is something only a true artist can do.

DOWNLOAD: “Fine By Me Good Bayou” “Collarbone” “If You Have Crying Eyes”

Living Blues Logo

Just A Wish Away
Blind Pig Records - BPCD 5159

The former Maryland-based musician Deanna Bogart traveled to Louisiana’s Dockside Studio to record her new album, and from the sound of it, “a little touch of voodoo” seeped it’s way into the atmosphere. On Just A Wish Away... Bogart serves up a flavorful musical gumbo that’s a taste of the artist at the height of her powers.

That “little touch of voodoo” swirls through the swampy soul of
Fine by me Good Bayou, with Bonerama contributing a dash of New Orleans brass; the horn trio also livens up the swinging instrumental Collarbone and the nostalgic Hot Fun in the Summertime. If It’s Gonna Be Like This is tough and vivacious, and Marty Rifkin’s pedal steel provides a mournful counterpoint to it as well as to the bittersweet ballad What Is Love Supposed to Do. Bogart duets with guitarist Cris Jacobs on If You Have Crying Eyes, and their voices meld beautifully on the lilting, country gospel-tinged tune. Back and Forth Kid is an affecting Carol King-esque tale that Bogart spins solo on the piano. On the jubilant Conversing with Lincoln, Derwin “Big D” Perkins’ guitar and Charlie Wooten’s bass dance briskly with Bogart’s sax, and Rafael Pereira’s percussion lends the song and island feel. Stevie Ray vaughn’s Tightrope is given a funky, keyboard-driven treatment, and the instrumental Bye Bye Blackbird brings it all back home with a Big Easy flourish. With seamless, eclectic style to spare Deanna Bogart’s Just A Wish Away... is a truly lovely record, full of the fine playing, singing and songwriting that she is known for.

- Melanie Young

Relix

september 2014
Deanna Bogart
Just A Wish Away...

Blues pianist and sax player Deanna Bogart is an honorary member of the Blues Broads, but she's also played western swing, boogie-woogie and hard country music during her long career. She brings all of these influences to bear on this record.

Bogart reinvents "Bye Bye Blackbird" as a second-line strut and turns Sly's "Hot Fun In The Summertime" into a laid-back bluesy shuffle, but when she's singing her own tunes, she's most impressive. "If It's Gonna be Like This" combines roadhouse blues and pedal steel into a bracing kiss to a bad relationship, while the torch "What Is Love Supposed to Do" shows off her impressive vocals, with a delivery so full of longing and heartache that it sends chills down your spine.

- J Poet


John The Rock Doctor Kereiff

The Record Box for August 11, 2014


JUST A WISH AWAY... Deanna Bogart (Blind Pig/ Stony Plain) **** 1/2

The latest from this talented multi-instrumentalist is a funky, swingin' groove with country soul 'n' gospel, and a taste of the blues mixed in for good measure. It chronicles a personal and musical journey that took her from Chesapeake Bay to Nashville, from the deserts of southern California to deep in the Louisiana bayou, where this disc was recorded.

Wish wasn't the easiest disc for me to get next to; there were a couple of 'false spins' before I finally listened all the way through and started absorbing what Deanna was trying to impart - and isn't that how the best records usually go? These songs sound lived in, with the stylistic freedom that such a journey requires, shifting effortlessly from a heartbreaking ballad like Back And Forth Kid into the slick, swaggering jazz n soul of Collarbone. The players behind her include guys from Royal Southern Brotherhood, Harry Connick Jr., and the pop/jazz outfit Spyro Gyra- how long has it been since you've heard that name?

The deeper Deanna goes and the darker her vision gets, the more I like it- such is the life of a manic depressive I suppose. The pedal steel makes What Is Love Supposed To Do come off like a country ballad, but this is more than just trailer park heartbreak with the protagnist coming out of a love affair and asking "so what's next?" Interesting choice of covers too, giving a sprightly jazz/ funk spin on Hot Fun In The Summertime by Sly & the Family Stone, and an instrumental Dixieland march version of, Bye Bye Blackbird, possibly her way of saying "don't get too comfortable, I've got something different lined up next."

Deep, soulful songs and masterful musicianship make Just A Wish Away the kind of record you wish we could hear more of.

HIGHLIGHTS:
Back And Forth Kid, If It's Gonna Be Like This, What Is Love Supposed To Do


Elmore Magazine

Describing albums as “genre-defying” has perhaps become cliché. But if you had to name one record that exquisitely fits that term, Deanna Bogart’s Just a Wish Away is it. Using a variety of mainly New Orleans based players, Bogart demonstrates her considerable keyboard and sax chops across country music (lovely duet with Cris Jacobs on “If You Have Crying Eyes”), blues (Stevie Ray Vaughan’s “Tightrope”) and soul (Sly Stone’s “Hot Fun the Summertime”). Add to that bassist Charlie Wooton’s/Bogart jazz excursion “Conversing with Lincoln” and Bogart’s own swampy “Fine By Me Good Bayou,” and you have an album that will repeatedly provide musical surprises and technical brilliance.
Balitmore Blues Society

DEANNA BOGART
Just A Wish Away
BLIND PIG

WE’RE NOT in Pianoland anymore. Artistically, Deanna Bogart has already moved on from the contemplative quiet time of that 2012 album. The sequential bam-bam whoosh of the guitar-snarled “If It’s Gonna Be Like This” into a horn-leavened “Fine By Me Good Bayou” left intimate piano ponderings behind in a cloud of dust. Not only is the multiinstrumentalist back alternating between keys and sax, but the singer with the mature sense of songwriting is also melodically back on the move again. This time out, Just A Wish Away plays to all her strengths. It’s title is perfectly apt, since a new dream band was indeed duly granted. With more chops than a meat market, canny veterans with ties to acts as noted and far-flung as Springsteen, Spyro Gyra, and Royal Southern Brotherhood collectively shimmer in the jazz-pop interludes of “Conversing With Lincoln” and Sly Stone’s “Hot Fun in the Summertime” (bubbled over by three bassists).With her Wurlitzer organ and tenor sax threading the open spaces between Harry Connick’s Bonerama Horns, the whole of “Collarbone” makes for one cool instrumental ride. Then the pianist precariously dashes atop “Tightrope,” tiptoed notes teetering down the thin line where Stevie Ray’s guitar originally rushed. But for all of the mass and motion, Bogart remains at her most powerfully moving when more spare and slow, letting “What Is Love Supposed to Do” inflict its heartache with utmost grace and the teardrops shed by Marty Rifkin’s pedal steel. Or, simpler yet, when magically filling your room with “Back and Forth Kid” by clearing her room of everyone and everything except for elegantly-pained reflections and the richest of drop-dead gorgeous tones from her piano.

-DENNIS ROZANSKI
Phillycheeze's Rock and Blues Reviews
By Phillip Smith; July 12, 2014
http://phillycheezeblues.blogspot.com


Deanna Bogart keeps getting better and better. Her latest release, Just a
Wish Away
is an instant classic featuring outstanding songwriting and
superb performances.
Capturing the creativity of Carole King, the spunk of Bonnie Raitt, and the vocal style of Christine McVie, Bogart seizes the listener’s attention quickly. Enlisting bassist Charlie Wooton, and New Orleans’s favorite horn section Bonerama, makes the album even more alluring.

I absolutely love “Back and Forth Kid”. Beautifully played, this heartfelt song about growing up under lousy conditions sports an instant familiarity, as if it were a song heard a million times before. “What is Love Supposed To Do” a pretty song of longing and dusting off old memories, also has a certain familiarity to it. Marty Rifkin on steel guitar brings a nice little smidge of country to the song.

Bogart breaks loose on Stevie Ray Vaughan’s “Tightrope”, hitting the ivories with full force to give the song new life as a piano-centric tune. Without SRV’s signature guitar present, my brain took a little time to absorb what the song actually was the first time I heard it. Going deep, Bogart teams up with Cris Jacobs, taking on JD Souther’s “If You Have Crying Eyes”, from his Black Rose album. Jacobs plays guitar and covers the other half of the vocals in this duet. The two have great chemistry together, and sound as if they have been performing together for years.

Sure to be a live staple, Deanna takes a turn to the funky side with Sly and the Family Stone’s “Hot Fun in the Summertime”. Wooton’s bass breaks loose on this track and Bonerama tops it off with their cool blasts of brass.

Deanna Bogart’s talents are many, and this new album is very enjoyable. Take the plunge and give Just a Wish Away… a listen.