Introducing Sasha Dobson
// Sash Dobson

JUN109
Release date: March, 2004

Featuring: Doug White, John Merrill, and Kenji Rabson

It gives me great pleasure to present the recording debut of Sasha Dobson. Her naturally appealing vocal quality, wonderful jazz phrasing, and appreciation of good material make her a truly special singer and a fine jazz improviser as well. I am also gratified to be able to include the contributions of two of my favorite musicians, guitarist, John Merrill and bassist, Kenji Rabson, both of whom have appeared with me in a trio format on numerous occasions. Their appearances on Juniper Records are long overdue.
—Doug White

In his comments, Doug White refers to Sasha Dobson’s "jazz phrasing" and that describes one of the most significant components of her style. She comes upon it as a birthright, having been raised in a jazz-musical family. Her father, Smith Dobson, before his tragic and untimely death, was one of the most important and popular of the modern generation of West Coast jazz musicians. Her mother, Gail, is a fine jazz singer in her own right. As a result, Sasha has always been exposed to the ways of jazz, and absorbed it through example since her earliest days.

White, who has often chosen to work in situations that do not include the use of a drummer, felt strongly about presenting her in this way: "I was always impressed when hearing Sasha in situations where a drummer was not included, often due to the fact that many small venues prefer not to hire a fourth musician. I thought it would be interesting to record her in that sort of context. I have also long been a fan of the "drumless" recordings of Julie London and especially of Annie Ross’ album, originally titled "Annie by Candlelight." I felt that as long as the accompanists provided enough rhythmic impetus we might be able to achieve a similar effect."

The tunes range from essential standards to unusual choices such as pianist Herbie Nichols’ "Shuffle Montgomery," here given a catchy set of lyrics, or her "lyricless" turn on White’s "The Blue Waltz." She even breaks out of the strict jazz cannon to interpret Billy Preston’s 1970’s top 40 hit "Will It Go Round In Circles." Here then, is an introduction to an important new voice, supported by musicians of the highest quality, in a consistently interesting and engaging program. We at Juniper Records are proud of this effort, and hope that you, the listener, will enjoy it as much as we do.

—Maureen Mulhern