Kristina | Reviews

Reviews

Kristina – Offshore Echoes
By Raul da Gama

A female vocalist with a low vocal spectrum is not supposed to sound as joyful as Kristina does on Offshore Echoes. And she sounds joyful no matter what she sings. Many singers would sound solemn. However, Kristina, being the wonderful practitioner of the vocal arts that she is gives a fine account of herself. Not only is she a versatile vocalist in terms of how many languages she can actually sing with accurate diction, but to be able to communicate the soul of the song, no matter what that language… And this is truly special. The secret is probably the fact that Kristina is three: part Cherokee, part African and part German. Not that this specific cultural mixture matter, but that she has a soul dipped in the spirits of the ancients of African and Native American and German gives her fearless courage and a true sense of alegria.
Offshore Echoes is one of the most infectiously happy records of the year. The amazing driving capoeira samba rhythm of “Ilu Ayé” is a perfect case in point as it spins like a colorful top of ecstacy. “Take me to Aruanda” is no less ebullient and Kristina has a particularly sassy way of letting quarter tones slide by with majestic glissandi here. “Cherokee,” that incomparable song that has brought so much spirited joy through the ages–especially since the legendary Charlie Parker recast it–gets a further refurbishment. Kristina can claim to have sung this one with true soul, being Cherokee herself. In fact the vocalist may have turned this version into one of those songs that renters the vocabulary of modern music in much the same way as “Wichitai-to” did after Jane Bunnett recast the John Pepper classic.
Kristina goes native once again in the beautiful landó, the Afro-Peruvian, “No Valentin.” This is a significant vocal as it is equivalent to a delta blues in the US and Kristina renders her version with sublime authenticity. Her tribute to Sarah Vaughan, “Tenderly” may be the most definitive version since “Sassy” did hers. It is by this song that Kristina shows why she may possibly be the true successor to Vaughan herself. Kristina has that smokey hush that combines with her often-authoritative inflection and undulating phrasing that sets her apart and recalls the great “Sassy” herself. In “The 59th Street Bridge Song (Feelin’ Groovy),” which Kristina sings in a swaggering reggae/calypso rhythm and shows just how uncannily close to Vaughan she can come in all her soulful splendour.
The music on the record is made all the more memorable by the magnificent artists who appear with Kristina. The instrumental ensemble is exquisite as is the choral backing–especially on “Ilu Ayé.” Then there is the outstanding percussion work of John Santos and Michaelle Goerlitz as well as the brass and woodwinds including Wayne Wallace and Mary Fettig, who shine bright.
Offshore Echoes is an experience that far outlives the echoes of the notes that hover in the air long after the last note is played and sung.

Bay Area Jazz Examiner
By David Becker

Multiculturalism can be a fraught idea in music. Best case, you get a rich cultural exploration that respects and enriches each tradition it touches on. Worst case, we're talking Celine Dion does calypso.
Fortunately, Oakland vocalist Kristina Smith (who generally goes by her first name) lands solidly on the former end with her debut CD, "Offshore Echoes."
A gifted singer with a rich, supple tone that lends itself to any number of formats, Kristina brings captivating phrasing and a playful verbal sense to an eclectic mix of tunes that touch on styles ranging from salsa to reggae.
Highlights include Sting's "Tea in the Sahara," done as a a more-or-less straightahead jazz tune and enriched by a sparkling piano solo. Charlie Parker's "Cherokee" is effectively converted to a brisk salsa number, while Chick Corea's "Open Your Eyes You Can Fly" morphs into a sinuous mambo. The reggae-lite stylings behind Simon & Garfunkel's "59th St. Bridge Song (Feeling Groovy)" seem tepid compared with the rest of the record, yet Kristina's playful vocalizing makes it work.
The singer is backed by a number of A-list instrumental talents from the Bay Area, including trombonist/arranger/producer Wayne Wallace, percussion prince John Santos and pianist Frank Martin.
All-in-all, it's an impressive debut from an artist well worth keeping an eye on.

All About Jazz

Kristina completes an astounding achievement with Offshore Echoes by offering jazz listeners her own eclectic interpretations of classic compositions. From Sting ("Tea in the Sahara") to Kenny Vance ("The Performer"), Kristina pulls out all the stops and delivers convincing performances of every track covered on the recording.
Kristina's track selection holds a personal meaning and particularly with “Cherokee" which reflects her own paternal Native-American roots mixed with her German heritage. With the tracks “Take Me To Aruanda" and the Portuguese lyrics of “Ilu Aye," Kristina reveals her affinity to Samba.
Kristina continually honors her multiracial - multicultural lineage with rich rhythmic traditions from three continents. This makes the vocalist a unique entity to the jazz realm, as she embodies an ancestry drawn from the Americas, Africa, and European continents.
Offshore Echoes is produced by celebrated trombonist, composer/arranger, Wayne Wallace. While Wallace also contributes his infinite professionalism his experience with the trombone on the album is a highlight that accentuates Kristina's vocal range. The recording also features John Santos, Frank Martin, Murray Low and David Belove, among other music luminaries from the Bay Area.

CD Review:
O's Place Jazz Magazine

O's Notes: Vocalist Kristina gets in touch with her genetic rhythms, the African beats that made their way to America. These are the beats that resonate within so many of us. They are presented in music from Cuba, Brazil, Africa, Jamaica, Peru and of course North American jazz. The band is excellent and Kristina's pleasant vocals are a strong complement. She softens the percussive attack and makes the music assessable to a wider audience. We were in love after the second track! The musicians include Frank Martin (p), Murray Lowe (p), David Belove (b), Rock Vandivier (g) and a wealth of spirited percussionists. Producer Wayne Wallace does a fine job with the arrangements.

Life’s A Party Open To Everyone
Artist Interview by: Susan Frances

Channeling her multi-cultured background that includes German, Angolan, and Native American Indian ancestries, singer-songwriter Kristina Smith delves into a litany of influences to bring out a rich palette of textures steep in Afro-Cuban rhythms, swing-inspired motifs, and flowery ballads on her debut album Offshore Echoes from Patois Records. She describes how the album fulfilled her innermost needs. “I call these choices of songs my ‘wish list songs’. I wanted to share the message within the songs. The songs affirm the ups and downs of life. As a jazz singer, I wanted to make the songs ‘my own’ with the help of Wayne's arrangements.”
The eminent trombonist Wayne Wallace produced the album and displayed the instincts of a seasoned professional drawing out the many complementing flavors contained in Kristina’s soul. She cherished the experience of working with Wallace and claims, “I have been a follower of Wayne Wallace's work as a producer and arranger as well as a trombonist. I've enjoyed the variety of musical styles he is open to. When I met with him I found out that we share a similar vision and a mutual affinity for world rhythms. As a singer, he respected my choice of lyrical story-telling within songs. Therefore, when we combined our ideas, it made it an easy and pleasurable experience.”
Kristina shares that she and Wallace collaborated on the arrangements as well as the choice regarding which musicians would be on the recording, all of whom came from the local San Francisco Bay Area. “The San Francisco/Bay Area has a host of wonderful musicians,” she asserts. “Many I have worked with before. We chose the best people for the type of rhythms and feelings to best fit the concept of the CD.”
She expresses that the direction of the songs was pinned down before everyone went into the recording studio. “We worked with demos in pre-production and we worked it out during rehearsals.”
She reveals that the song selection for the album was a personal matter. “They are songs I have loved for many years.” she confides. “The songwriters told universal stories that touched my heart. In my opinion, the songs have been a healing force that recognizes we are not alone in our joys and sorrows.”
One track that has a special meaning for Kristina is Paul Simon’s song, “The 59th Street Bridge Song,” which was tweaked with a catchy reggae spin on it. She explains, “Wayne arranged the song to have that reggae-island spin. It's part of my CD's concept to hear the drums and rhythms of Africa, Cuba, Brazil, Peru, Jamaica and the USA. I dedicated this CD to my brother who passed away on November 18, 2007. We were big Simon and Garfunkel fans. The song was selected to honor him and universal childhood memories of having fun.”
She reflects about her role as a solo artist, “The greatest joy I'm getting from this experience is that other people, i.e. children, women and even men of various ages are singing along with me on the songs. Some know the words already. Others are scatting with me on ‘Cherokee’ and ‘The 59th Street Bridge Song (Feeling Groovy)’. It's very gratifying. I'm working on the ‘Dream Show’ that will have folks up and dancing.”
Being able to touch people’s hearts and emotions with her music was a bonus to becoming a solo artist, but it was being able to chose which music to perform that steered her in this direction. She tells, “I've always been a singer. I still sing in choirs and in groups. I love to sing. In the San Francisco/Bay Area there are night clubs, coffee houses, restaurants and art openings and of course our famous wine tasting events to sing and practice one's craft. Singing solo gave me the opportunity to chose what I wanted to sing.”
Her sense of independence can be traced back to her childhood when she was growing up in the San Francisco Bay Area and basking in an environment that encouraged individuality and creativity. She recalls about her youth, “ I heard a variety of music growing up in the San Francisco Bay Area. It influenced the styles of music I enjoy. I foster the desire to share rhythms and stories from various places with others.”
As an adolescent, she was accepted to Mills College in Oakland, California on a dance scholarship and remarks about it. “When I was a teenager, I was in the Upward Bound Program at Mills. The dance department viewed a video tape of me dancing a Ruth Bedford inspired choreographic piece and offered me a scholarship. I jumped at the chance to attend the school. The experience of attending Mills broadened my horizons to the point that still effects me today in the choices I make.”
It was during a summer vacation in Santa Fe, New Mexico when Kristina began studying at the Maria Benitez Institute for Spanish Arts and performed with the Gitano Singers and Dancers. The Flamenco-tinged ambience of Santa Fe gave Kristina a chance to experience Latin rhythms and Spanish-influenced music, which have all made their way into her music and debut album Offshore Echoes.
She enthuses, “I hope people enjoy my selection of songs for the concept of this CD, Offshore Echoes.”
She professes on her website, “Never be afraid to love, never be afraid to just be, cast away the chains of doubt, have the courage to be free, open your eyes… you can fly.” The message in her album encourages the listener to aim towards being positive about life. For life is a party to Kristina, which is opened to everyone.

The Jazz Wrtier
By Woodrow Wilkins
November 2009

When covering non-jazz songs, most artists tend to do hit singles. San Francisco vocalist Kristina breaks tradition by putting her stamp on “Tea in the Sahara,” an album track by The Police. With a cool bass line by Rich Girard and African percussion in the background, Kristina brings a multicultural approach to open her release, Offshore Echoes, on Patois Records. Her wordless chant during Frank Martin’s piano solo adds an ethereal element. Drummer Deszon Claiborne contributes.

Kristina is joined by a lineup that’s variable and versatile. In addition to the musicians mentioned, the cast includes producer/arranger Wayne Wallace, pianist Murray Low, bassist David Belove and many others. Offshore Echoes also revisits some jazz standards. A full horn section accompanies on “Cherokee,” which is highlighted by Kristina’s scat and a brief call and response between the horns and the percussionists.

One of the more engaging tracks is the Chick Corea song, “Open Your Eyes You Can Fly,” previously sung by Flora Purim. Kristina, who says the words, “have the courage to be free,” got her through college during a time of self-doubt, sings in a style similar to Purim’s. The layers of lead vocal, background vocals and horns over the rhythm section give this song a tremendous amount of depth. Wallace performs a striking trombone solo.

Kristina’s vocal style is her own, although one may hear influences of Purim, Ella Fitzgerald, Sarah Vaughan and Janis Siegel. Combined with the cast of musicians and Wallace’s arrangements, she makes Offshore Echoes one solid musical outing.

jazzreview.com

Vocalist Kristina Smith is a new gem in Patois Records coffer exhibiting a melodic luster with a clarion ring that resonates waves of soothing tranquility. Kristina’s debut album Offshore Echoes is a mix of Copacabana grooves with a torchlight flint and swing jazz atmospherics. Tracks like “Ilu Aye” and “Valentin” will have audiences dancing in the aisles, and numbers like “Tenderly” and “Open Your Eyes You Can Fly” will offer listeners a cozy respite from the daily rigors of everyday chores. It is an album fraught with smooth jazz jaunts that allow listeners an escape to an oasis of blissful riffs surrounded in charming melodic eaves.
The reggae grooves icing Paul Simon’s pop tune “The 59th Street Bridge Song (Feelin’ Groovy)” have a cool jazz peddling that puts a modern sheen on a classic pop melody. Kristina makes singing seem so easy and freeing as she traverses across the soul-inspired treads of Sting’s tune “Tea In The Sahara.” Her gentle sensibilities are starkly pronounced in the swishing waves of “Love Everlasting.” The nightclub grooves of “Cherokee” are adorned with shimmery horns and garbed in a plumage of feathery winged arrangements in “Aruanda.” Kristina treats every song like it is very special to her and holds a sentimental meaning for her. She presents them in the best light possible and treats them with a tenderness that is reminiscent of classic jazz vocalists like Cassandra Wilson and Nina Simone. She works with trembling Afro-Cuban accents on “Open Your Eyes You Can Fly” and in “Ilu Aye” revealing an intrinsic bond with tribal-based esthetics. She relates to a multitude of music cultures bringing a broad dimension to these songs with crossover capabilities.
Kristina has a voice that melds with the music and lets the rhythmic patterns guide her lifts and descents. The tranquility which permeates from every cell of these songs is attractive and will put shards of bliss in the listener’s mind. Offshore Echoes is a pleasing album from top to bottom that renews faith in jazz music to transform the darkness into light.

www.stjoenews.net
by Alonzo Weston Tuesday, September 1, 2009

Kristina - “Offshore Echoes” (Patois Records) Latin jazz vocalist Kristina takes a few well known pop and jazz compositions and adds a multicultural bent to them.

TITLE: “Offshore Echoes” (Patois Records)
ARTIST: Kristina
STARS: 3 Out Of 5 Stars
SOUNDS LIKE: Well known pop and jazz songs filtered through a multicultural musical kalediscope. Celebratory and joyous. Latin jazz vocalist Kristina takes a few well known pop and jazz compositions and adds a multicultural bent to them. Borrowing rhythms and cadences from Brazil, Latin and Africa she gives ethnic interpretations to tunes like Sting’s “Tea in the Sahara” and the jazz classic “Tenderly.” And it all works in a joyous, breezy fashion. Joined by a group of some of San Francisco’s most celebrated musicans that includes trombonist Wayne Wallace an Pianist Frank Martin, Kristina shows a lot of promise on her debut album “Offshore Echoes.”

"...I am suprised and admiring (Offshore Echoes): Beautiful voice, excellent sense of the tempo, it's evident that the other musicians play with a great pleasure. A bliss!"
—Serge WARIN Radio Canal Bleu 6 rue Lavergne, France




			Reviews Kristina – Offshore Echoes By Raul da Gama A female vocalist with a low vocal spectrum is not supposed to sound as joyful as Kristina does on Offshore Echoes. And she sounds joyful no matter what she sings. Many singers would sound solemn. However, Kristina, being the wonderful practitioner of the vocal arts that she is gives a fine account of herself. Not only is she a versatile vocalist in terms of how many languages she can actually sing with accurate diction, but to be able to communicate the soul of the song, no matter what that language… And this is truly special. The secret is probably the fact that Kristina is three: part Cherokee, part African and part German. Not that this specific cultural mixture matter, but that she has a soul dipped in the spirits of the ancients of African and Native American and German gives her fearless courage and a true sense of alegria. Offshore Echoes is one of the most infectiously happy records of the year. The amazing driving capoeira samba rhythm of “Ilu Ayé” is a perfect case in point as it spins like a colorful top of ecstacy. “Take me to Aruanda” is no less ebullient and Kristina has a particularly sassy way of letting quarter tones slide by with majestic glissandi here. “Cherokee,” that incomparable song that has brought so much spirited joy through the ages–especially since the legendary Charlie Parker recast it–gets a further refurbishment. Kristina can claim to have sung this one with true soul, being Cherokee herself. In fact the vocalist may have turned this version into one of those songs that renters the vocabulary of modern music in much the same way as “Wichitai-to” did after Jane Bunnett recast the John Pepper classic. Kristina goes native once again in the beautiful landó, the Afro-Peruvian, “No Valentin.” This is a significant vocal as it is equivalent to a delta blues in the US and Kristina renders her version with sublime authenticity. Her tribute to Sarah Vaughan, “Tenderly” may be the most definitive version since “Sassy” did hers. It is by this song that Kristina shows why she may possibly be the true successor to Vaughan herself. Kristina has that smokey hush that combines with her often-authoritative inflection and undulating phrasing that sets her apart and recalls the great “Sassy” herself. In “The 59th Street Bridge Song (Feelin’ Groovy),” which Kristina sings in a swaggering reggae/calypso rhythm and shows just how uncannily close to Vaughan she can come in all her soulful splendour. The music on the record is made all the more memorable by the magnificent artists who appear with Kristina. The instrumental ensemble is exquisite as is the choral backing–especially on “Ilu Ayé.” Then there is the outstanding percussion work of John Santos and Michaelle Goerlitz as well as the brass and woodwinds including Wayne Wallace and Mary Fettig, who shine bright. Offshore Echoes is an experience that far outlives the echoes of the notes that hover in the air long after the last note is played and sung. Bay Area Jazz Examiner By David Becker Multiculturalism can be a fraught idea in music. Best case, you get a rich cultural exploration that respects and enriches each tradition it touches on. Worst case, we're talking Celine Dion does calypso. Fortunately, Oakland vocalist Kristina Smith (who generally goes by her first name) lands solidly on the former end with her debut CD, "Offshore Echoes." A gifted singer with a rich, supple tone that lends itself to any number of formats, Kristina brings captivating phrasing and a playful verbal sense to an eclectic mix of tunes that touch on styles ranging from salsa to reggae. Highlights include Sting's "Tea in the Sahara," done as a a more-or-less straightahead jazz tune and enriched by a sparkling piano solo. Charlie Parker's "Cherokee" is effectively converted to a brisk salsa number, while Chick Corea's "Open Your Eyes You Can Fly" morphs into a sinuous mambo. The reggae-lite stylings behind Simon & Garfunkel's "59th St. Bridge Song (Feeling Groovy)" seem tepid compared with the rest of the record, yet Kristina's playful vocalizing makes it work. The singer is backed by a number of A-list instrumental talents from the Bay Area, including trombonist/arranger/producer Wayne Wallace, percussion prince John Santos and pianist Frank Martin. All-in-all, it's an impressive debut from an artist well worth keeping an eye on. All About Jazz Kristina completes an astounding achievement with Offshore Echoes by offering jazz listeners her own eclectic interpretations of classic compositions. From Sting ("Tea in the Sahara") to Kenny Vance ("The Performer"), Kristina pulls out all the stops and delivers convincing performances of every track covered on the recording. Kristina's track selection holds a personal meaning and particularly with “Cherokee" which reflects her own paternal Native-American roots mixed with her German heritage. With the tracks “Take Me To Aruanda" and the Portuguese lyrics of “Ilu Aye," Kristina reveals her affinity to Samba. Kristina continually honors her multiracial - multicultural lineage with rich rhythmic traditions from three continents. This makes the vocalist a unique entity to the jazz realm, as she embodies an ancestry drawn from the Americas, Africa, and European continents. Offshore Echoes is produced by celebrated trombonist, composer/arranger, Wayne Wallace. While Wallace also contributes his infinite professionalism his experience with the trombone on the album is a highlight that accentuates Kristina's vocal range. The recording also features John Santos, Frank Martin, Murray Low and David Belove, among other music luminaries from the Bay Area. CD Review: O's Place Jazz Magazine O's Notes: Vocalist Kristina gets in touch with her genetic rhythms, the African beats that made their way to America. These are the beats that resonate within so many of us. They are presented in music from Cuba, Brazil, Africa, Jamaica, Peru and of course North American jazz. The band is excellent and Kristina's pleasant vocals are a strong complement. She softens the percussive attack and makes the music assessable to a wider audience. We were in love after the second track! The musicians include Frank Martin (p), Murray Lowe (p), David Belove (b), Rock Vandivier (g) and a wealth of spirited percussionists. Producer Wayne Wallace does a fine job with the arrangements. Life’s A Party Open To Everyone Artist Interview by: Susan Frances Channeling her multi-cultured background that includes German, Angolan, and Native American Indian ancestries, singer-songwriter Kristina Smith delves into a litany of influences to bring out a rich palette of textures steep in Afro-Cuban rhythms, swing-inspired motifs, and flowery ballads on her debut album Offshore Echoes from Patois Records. She describes how the album fulfilled her innermost needs. “I call these choices of songs my ‘wish list songs’. I wanted to share the message within the songs. The songs affirm the ups and downs of life. As a jazz singer, I wanted to make the songs ‘my own’ with the help of Wayne's arrangements.” The eminent trombonist Wayne Wallace produced the album and displayed the instincts of a seasoned professional drawing out the many complementing flavors contained in Kristina’s soul. She cherished the experience of working with Wallace and claims, “I have been a follower of Wayne Wallace's work as a producer and arranger as well as a trombonist. I've enjoyed the variety of musical styles he is open to. When I met with him I found out that we share a similar vision and a mutual affinity for world rhythms. As a singer, he respected my choice of lyrical story-telling within songs. Therefore, when we combined our ideas, it made it an easy and pleasurable experience.” Kristina shares that she and Wallace collaborated on the arrangements as well as the choice regarding which musicians would be on the recording, all of whom came from the local San Francisco Bay Area. “The San Francisco/Bay Area has a host of wonderful musicians,” she asserts. “Many I have worked with before. We chose the best people for the type of rhythms and feelings to best fit the concept of the CD.” She expresses that the direction of the songs was pinned down before everyone went into the recording studio. “We worked with demos in pre-production and we worked it out during rehearsals.” She reveals that the song selection for the album was a personal matter. “They are songs I have loved for many years.” she confides. “The songwriters told universal stories that touched my heart. In my opinion, the songs have been a healing force that recognizes we are not alone in our joys and sorrows.” One track that has a special meaning for Kristina is Paul Simon’s song, “The 59th Street Bridge Song,” which was tweaked with a catchy reggae spin on it. She explains, “Wayne arranged the song to have that reggae-island spin. It's part of my CD's concept to hear the drums and rhythms of Africa, Cuba, Brazil, Peru, Jamaica and the USA. I dedicated this CD to my brother who passed away on November 18, 2007. We were big Simon and Garfunkel fans. The song was selected to honor him and universal childhood memories of having fun.” She reflects about her role as a solo artist, “The greatest joy I'm getting from this experience is that other people, i.e. children, women and even men of various ages are singing along with me on the songs. Some know the words already. Others are scatting with me on ‘Cherokee’ and ‘The 59th Street Bridge Song (Feeling Groovy)’. It's very gratifying. I'm working on the ‘Dream Show’ that will have folks up and dancing.” Being able to touch people’s hearts and emotions with her music was a bonus to becoming a solo artist, but it was being able to chose which music to perform that steered her in this direction. She tells, “I've always been a singer. I still sing in choirs and in groups. I love to sing. In the San Francisco/Bay Area there are night clubs, coffee houses, restaurants and art openings and of course our famous wine tasting events to sing and practice one's craft. Singing solo gave me the opportunity to chose what I wanted to sing.” Her sense of independence can be traced back to her childhood when she was growing up in the San Francisco Bay Area and basking in an environment that encouraged individuality and creativity. She recalls about her youth, “ I heard a variety of music growing up in the San Francisco Bay Area. It influenced the styles of music I enjoy. I foster the desire to share rhythms and stories from various places with others.” As an adolescent, she was accepted to Mills College in Oakland, California on a dance scholarship and remarks about it. “When I was a teenager, I was in the Upward Bound Program at Mills. The dance department viewed a video tape of me dancing a Ruth Bedford inspired choreographic piece and offered me a scholarship. I jumped at the chance to attend the school. The experience of attending Mills broadened my horizons to the point that still effects me today in the choices I make.” It was during a summer vacation in Santa Fe, New Mexico when Kristina began studying at the Maria Benitez Institute for Spanish Arts and performed with the Gitano Singers and Dancers. The Flamenco-tinged ambience of Santa Fe gave Kristina a chance to experience Latin rhythms and Spanish-influenced music, which have all made their way into her music and debut album Offshore Echoes. She enthuses, “I hope people enjoy my selection of songs for the concept of this CD, Offshore Echoes.” She professes on her website, “Never be afraid to love, never be afraid to just be, cast away the chains of doubt, have the courage to be free, open your eyes… you can fly.” The message in her album encourages the listener to aim towards being positive about life. For life is a party to Kristina, which is opened to everyone. The Jazz Wrtier By Woodrow Wilkins November 2009 When covering non-jazz songs, most artists tend to do hit singles. San Francisco vocalist Kristina breaks tradition by putting her stamp on “Tea in the Sahara,” an album track by The Police. With a cool bass line by Rich Girard and African percussion in the background, Kristina brings a multicultural approach to open her release, Offshore Echoes, on Patois Records. Her wordless chant during Frank Martin’s piano solo adds an ethereal element. Drummer Deszon Claiborne contributes. Kristina is joined by a lineup that’s variable and versatile. In addition to the musicians mentioned, the cast includes producer/arranger Wayne Wallace, pianist Murray Low, bassist David Belove and many others. Offshore Echoes also revisits some jazz standards. A full horn section accompanies on “Cherokee,” which is highlighted by Kristina’s scat and a brief call and response between the horns and the percussionists. One of the more engaging tracks is the Chick Corea song, “Open Your Eyes You Can Fly,” previously sung by Flora Purim. Kristina, who says the words, “have the courage to be free,” got her through college during a time of self-doubt, sings in a style similar to Purim’s. The layers of lead vocal, background vocals and horns over the rhythm section give this song a tremendous amount of depth. Wallace performs a striking trombone solo. Kristina’s vocal style is her own, although one may hear influences of Purim, Ella Fitzgerald, Sarah Vaughan and Janis Siegel. Combined with the cast of musicians and Wallace’s arrangements, she makes Offshore Echoes one solid musical outing. jazzreview.com Vocalist Kristina Smith is a new gem in Patois Records coffer exhibiting a melodic luster with a clarion ring that resonates waves of soothing tranquility. Kristina’s debut album Offshore Echoes is a mix of Copacabana grooves with a torchlight flint and swing jazz atmospherics. Tracks like “Ilu Aye” and “Valentin” will have audiences dancing in the aisles, and numbers like “Tenderly” and “Open Your Eyes You Can Fly” will offer listeners a cozy respite from the daily rigors of everyday chores. It is an album fraught with smooth jazz jaunts that allow listeners an escape to an oasis of blissful riffs surrounded in charming melodic eaves. The reggae grooves icing Paul Simon’s pop tune “The 59th Street Bridge Song (Feelin’ Groovy)” have a cool jazz peddling that puts a modern sheen on a classic pop melody. Kristina makes singing seem so easy and freeing as she traverses across the soul-inspired treads of Sting’s tune “Tea In The Sahara.” Her gentle sensibilities are starkly pronounced in the swishing waves of “Love Everlasting.” The nightclub grooves of “Cherokee” are adorned with shimmery horns and garbed in a plumage of feathery winged arrangements in “Aruanda.” Kristina treats every song like it is very special to her and holds a sentimental meaning for her. She presents them in the best light possible and treats them with a tenderness that is reminiscent of classic jazz vocalists like Cassandra Wilson and Nina Simone. She works with trembling Afro-Cuban accents on “Open Your Eyes You Can Fly” and in “Ilu Aye” revealing an intrinsic bond with tribal-based esthetics. She relates to a multitude of music cultures bringing a broad dimension to these songs with crossover capabilities. Kristina has a voice that melds with the music and lets the rhythmic patterns guide her lifts and descents. The tranquility which permeates from every cell of these songs is attractive and will put shards of bliss in the listener’s mind. Offshore Echoes is a pleasing album from top to bottom that renews faith in jazz music to transform the darkness into light. www.stjoenews.net by Alonzo Weston Tuesday, September 1, 2009 Kristina - “Offshore Echoes” (Patois Records) Latin jazz vocalist Kristina takes a few well known pop and jazz compositions and adds a multicultural bent to them. TITLE: “Offshore Echoes” (Patois Records) ARTIST: Kristina STARS: 3 Out Of 5 Stars SOUNDS LIKE: Well known pop and jazz songs filtered through a multicultural musical kalediscope. Celebratory and joyous. Latin jazz vocalist Kristina takes a few well known pop and jazz compositions and adds a multicultural bent to them. Borrowing rhythms and cadences from Brazil, Latin and Africa she gives ethnic interpretations to tunes like Sting’s “Tea in the Sahara” and the jazz classic “Tenderly.” And it all works in a joyous, breezy fashion. Joined by a group of some of San Francisco’s most celebrated musicans that includes trombonist Wayne Wallace an Pianist Frank Martin, Kristina shows a lot of promise on her debut album “Offshore Echoes.” "...I am suprised and admiring (Offshore Echoes): Beautiful voice, excellent sense of the tempo, it's evident that the other musicians play with a great pleasure. A bliss!" —Serge WARIN Radio Canal Bleu 6 rue Lavergne, France