Wildflower refers to Pascale’s lesser-known music or the singer, who was born in Philadelphia’s concrete jungle. Pascale is supported by Orrin Evans, the session’s pianist, and a number of special guests, including Christian McBride and Kurt Rosenwinkel and Gregoire Maret and Bilal. She finally blooms, a wildflower that is waking up to the sun. Wildflower was recorded at the same time as Pascale’s decade-long stint at Loews Philadelphia Hotel. This allowed her to refine her voice, style and broaden her repertoire. She was able to leave the Loews Philadelphia Hotel after a decade, and she now has the freedom to pursue a personal path. This is her fourth album. Every song on Wildflower has a strong emotional connection. This is evident in her passionate feelings that she shares with the listener. She says, “If I don’t feel connected to a song’s lyrics, I can’t sing it.” Pascale’s interactions with her musicians are equally important to her approach to breathing new life into the material. Pascale says that it’s the space between words that tells the story for her. It was amazing to have so much room for me as a painter thanks to these musicians. I was able to be very personal with the lyrics. It’s all about finding the right way to phrase the story so that the listener can connect to your intention. “Forget Me” is driven by McBride, Evans and drummer Donald Edwards. Pascale’s passionate delivery establishes this connection instantly. The song is followed by “Lament,” a tender J.J. Johnson song, featuring a lyric written for Pascale by Tony Haywood. It features Edwards and bassist Luques Cutis. Pascale worked closely alongside producer Orrin Evans to find the perfect musicians for her album. They have been together for almost 20 years, going back to Pascale’s near-death experience on stage at an Evans-led jam session when she was 14. Pascale recalls that the pianist called her up to the stage and refused to give her a songbook containing the music to Billie Holiday’s “Good Morning Heartache”. Orrin started playing, and I noticed something was wrong. I begin to sing and he suddenly changes the key. I am horrified. The drummer and bassist are having a great time, and I look around to see them laughing so hard that their shoulders were shaking. The next thing I know, someone grabs the songbook from me and places it in front Orrin. “I still feel a bit of fear when I sit in on a session of jam.” Pascale and Evans developed a friendship that has grown to the point they consider themselves almost family. Evans said that Joanna is like a sister to him. “I believe we feel rhythm, time, space and rhythm the same way. Whatever we do, there will be room for us to grow. Pascale believes Evans knew exactly where she wanted to go and that was something that I trusted. It was difficult for me to let go of control at times, as I had complete control over all my other records. He had a wider vision than me at the time, which allowed him to shape everything. We share a lot in mutual respect.” Gregoire Maret’s expressive harmony highlights two rare excursions into pop songbook territory for Pascale: Stevie Wonder’s “Overjoyed” as well as Gerry Goffin/Carole King’s favorite “Will you Still Love Me Tomorrow?” Maret is also featured, along with Cyrus Chestnut and Cyrus Chestnut, on Pascale’s slow rendition of Henry Glover’s “Drown in My Own Tears,” which was first recorded by Ray Charles. The title song features Kurt Rosenwinkel and Tim Motzer (Philly’s most beloved six-string sons) and Bilal, a neo-soul singer and friend from Philly’s renowned High School for the Creative and Performing Arts. Pascale says that Bilal and she began to discover music together. “We would trade and make jazz vocal mixtapes together. It was an extremely special moment to hear him share his talent on the recording, twenty years after he graduated from CAPA. Pascale is currently a Temple University faculty member and has been featured in two university CDs, including the Temple University Jazz Band tribute album To Thad with Love. She can be heard on Warfield’s Jazzy Christmas CD, Orrin Evans’ Liberation Blues, recorded at Smoke, Philly sax legend Larry McKenna, Jeremy Pelt’s Soul, and That Music Always Round Me. This is a setting for Walt Whitman’s poetry by Garry Dial, and Dick Oatts. After her 2004 debut as a leader, she released When Lights Are Low in 2008. She then recorded a 2008 CD Through My Eyes with pianist Anthony Wonsey and a duo recording in 2010 that focused on Songbook standards. from www.joannapascale.com
