Ira Hill - Tomorrow is Finally A Day That is Here

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The hallmark of any jazz singer is not only the way in which he lays out the melodies, but also the way in which he infuses the lyrics with soul. At a tender 19, Ira Hill navigates a familiar songbook as if it were his own, singing as one who means every word. Balancing sophistication and fun, he brings his all to every tune with panache, gratitude, and always with a smile.

Born 1996 in Bakersfield, California, Ira spent his earliest years shuttling between the United States and Mexico, before settling in Phoenix, Arizona at the age of seven. His father was a jazz lover, and introduced him to the Motown greats on which, by age 10, Ira would be cutting his teeth. This foundation laid the runway for a creative aircraft that was eager to take off. Control tower clearance came when an ever-supportive father brought a 14-year-old Ira to hear Grammy-nominated Count Basie vocalist Dennis Rowland in concert. Before the show, Ira was introduced to Rowland, who, upon discovering that Ira wanted to sing, gave him that very opportunity. Much to everyone's surprise, at the end of the show Rowland invited him to the stage sing the Temptations hit "My Girl, " a personal favorite of Ira's, with his jazz big band. The performance earned him a standing ovation, and opened his eyes to a wholly new possibility of self-expression. From there, Ira rode tailwinds through the more turbulent skies of the blues before finally landing smoothly in jazz. During this period of intense artistic development, he benefited immeasurably from mentors Rowland and Grammy-nominated pianist and vocalist Judy Roberts, another fixture of the Phoenix scene.

Ira's subsequent influences read like a storybook of his musical life. From Frank Sinatra to Mel Tormé, R&B to mariachi, Ira's versatility is a testament to his open spirit as both an artist and a human being. But if performing in such varied jazz venues such as Catalina's (Hollywood), Upstairs at Vitello's (Los Angeles), The Lighthouse (Redondo Beach), and The Garage in New York has taught him anything, it's that he must always be true to himself. With this in mind, he places himself firmly in the tradition of the great vocalese singers like Jon Hendricks and Mark Murphy. To be sure, the likeminded finesse of his gifts will be clear to anyone familiar.

In addition to vocalists, Ira has learned much by proxy from the likes of Lee Morgan, Dexter Gordon, and Bill Evans—musicians who, nevertheless, "sang" through their instruments, and whose art allowed Ira to imbue his own musicianship with an instrumental flavor. This is most obvious in his scatting, which at once distinguishes him from his bandmates and humbles him as an equal improviser among them.

Ira credits the time graciously given to him by greats who genuinely care about the up-and-coming generation of stars, and who instilled in him the confidence to brave his first solo flight. To that end, it was while participating in a Los Angeles jazz workshop that he fatefully met Cheryl Bentyne of The Manhattan Transfer, who was so impressed by his singing that she invited Ira back to L.A. to lay down a full studio album, which she also produced. Never one to forget where he comes from, Ira has crafted a consummately individual statement that speaks true, sings truer, and promises to be the springboard to a prosperous career.

The album is called Tomorrow, and with Ira leading the way, that's just what we have to look forward to.

Even as the title of Tomorrow—the debut album from Phoenix, Arizona's Ira Hill—hints at a bright future for the 19-year-old jazz vocalist, it pays its dues to the past by means of an attentive and eclectic set list. In spite, if not also because, of Ira's gloriously extroverted vocalese, the album comes across as a vividly personal journey. Over peaks and valleys of upbeat swing and finely brushed balladry, and bolstered by the simpatico thermals of his studio band, he spreads wings that shine all the more iridescently for having gotten this far.

The album's core trio of pianist John Proulx, bassist Kevin Axt, and drummer Dave Tull gives Ira all the space both he and his listeners need to luxuriate in the breadth of his sound. With the trio alone, he turns evergreens like "My Funny Valentine" and "Tomorrow's Another Day" even greener. Like an unclouded diamond cradled in supporting arms, Ira defines every refraction of light by bringing out every color of the spectrum.

Ira dials a few shades darker in the album's ballads and reveries. Of these, the Italian "Estate" is a standout, and features the classical guitar of Ramon Stagnaro in an overt nod to João Gilberto, the song's best-known interpreter. It shows Ira's depth of range and reveals a more relaxing side to his art. To boot, Bentyne ramps up the atmospheric beauty as she brushes her lavender into Ira's ember sunset, as she does also in a forward-looking arrangement of "Moody's Mood For Love." Ira brings a sense of urgency to this complex song, capturing the whirlwind of thoughts that overtakes the quintessential prisoner of love. Yet the album's most enchanting reverie comes in the form of Pat Metheny's "Minuano, " to which vocalist Kurt Elling added original lyrics, and which in this context snakes its way through a pastel blend.

At every turn of Tomorrow, one can count on a rich, emotional directness in Ira's singing. We hear him smiling and, at one point, even laughing, as if the joy of his gifts were too much to contain. Where some sing for fun, and that he certainly does, Ira is above all a musicians' singer, and as such reminds us that sometimes the human heart is the most fulfilling instrument of all to play.

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