Judy Lewis | Waiting On a New Day

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Jazz: Jazz Fusion Jazz: Progressive Jazz Moods: Featuring Piano
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Waiting On a New Day

by Judy Lewis

A lyrical and intimate solo piano album. "This is a tremendously moving and worthwhile CD. The more it is listened to the more it will offer up its secrets." JazzNow
Genre: Jazz: Jazz Fusion
Release Date: 

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  Song Share Time Download
1. Flight Pattern of a Butterfly
7:43 album only
2. Waiting On a New Day
4:01 album only
3. One Acquainted
5:39 album only
4. What's It All About, Alfie
9:13 album only
5. Blues In the Key of Innocence
4:43 album only
6. Watchout
0:33 album only
7. The Poet's License
2:45 album only
8. Mr. C
5:50 album only
9. Recurring Dream
3:56 album only
10. Return of the Heart
3:55 album only


Album Notes
The Judy Lewis Story
By Motti Cohen
JMC Promotions UK

"Judy lewis enters a room like an electrical storm... foreboding of a force to be dealt with." So said Hadara Levin of Judy Lewis in a 2000 interview in The City Voice.

I first met Judy in late 1999. A family friend had suggested that while on holiday in Israel I look up an interesting Jazz pianist. Judy had just sold her brand new Ford Fiesta for $12,000 to finance the recording and release of her first album, "Weaver of Dreams". That fact should have, in itself, given me a hint as to whom it was I was going to be dealing with. What I found, in fact, was a single Mom of 4 small children, working a 40 hour a week day job, still finding 4 to 5 hours a day to practice and promote her music. Our first conversation was a bantering of jazz drummers' names (I myself, being a drummer), a comparison of their styles and Judy's very strong statements of preference for one over the other. Judy told me that she was in the process of putting together a new Trio lineup since her drummer had been diagnosed with a life threatening illness and her bass player was planning a move to Germany to study music. One more in a long line of hurdles that didn't seem to faze her or dim the conviction she had in the music she created. Little did I know that just one year later would begin a lifelong collaboration as producer for this unique 21st century artist.

Judy Lewis was born, Judy Levine, in Milwaukee, Wis. on February 19th, 1958. She began classical piano studies at age 7 and by age 9 it was clear to all, including herself, that she would be a formidable musical entity in the future. As she put prize after prize under her belt she began to create a name for herself in the Classical world. At age 15 she won the Wisconsin Young Artists Competition, at age 16 the Wisconsin All Stars Competition, and at age 17 the Outstanding Music & Youth Award which included a performance with the Milwaukee Symphony Orchestra.

Judy continued her studies after high school at the illustrious Columbia University in New York, but her stay there lasted only 2 years. During her first year of college Judy became active in the campus's Jewish community and enthrawled by the spiritual side of Jewish teachings. Little by little Music was replaced by God as Judy was drawn into the tightly closed world of religiousity. After 2 years in university Judy moved to Jerusalem to study religion fulltime. Two years later she married a rabbinical student and left music forever...or so everyone thought.

For 10 years Judy remained a part of the most fervently religious sect in Israel. She had 4 children, worked odd jobs to make money, and tried to keep thoughts of her music buried as deeply as possible for, of course, in that world women were discouraged from playing public roles, particularly in the Arts and any connection to non-Jewish culture was strongly frowned upon. But, somewhere in year 10 Judy became restless. Thoughts of her previous life, her former self, and her one life's dream began to haunt her. In 1995, Judy ended her emotionally stale marriage, left the religious community for good and set out on her own, now a single mother of 4, to salvage her dreams.

With no degree and no job experience except for odd jobs, Judy began to take in private piano students and worked to complete her university degree through correspondence study. A year later she landed a job as music teacher at a local primary school and enrolled in the Rubin Academy of Music to get a B.A. in Music Education and a teaching certification, which she received 2 years later.

Having settled the issues of supporting her family, Judy turned to the difficult task of reclaiming her standing as a professional musician. For 3 years Judy played Classical music, but with little passion, until one day she heard her first Jazz concert given by a visiting pianist from L.A. In seconds she realized that this was the voice she had been looking for. The dream was reborn. The rest is a self composed fairy tale in the making...

Today, Judy Lewis has 4 albums of original Jazz music on the market, distributed worldwide and reviewed by the world's leading Jazz and Music Journals. She is managing director of her own record label, "Visionary Insomniac Records" and regularly tours Europe and Israel, in addition to being a pioneer of Jazz education in Israel. Her fans stretch from Los Angeles to Japan, from Italy to Russia.

Motti Cohen
JMC Productions UK
Freelance Producer UK

*please visit www.judylewisgroup.com for more information about Judy and her work

Jazz Now
L.A./ March 2003 issue

Judy Lewis
"Waiting On a New Day"

"Judy Lewis, ex ultra-orthodox Jew, ex fifty cigarettes a day, ex classical pianist has plenty of experience in life to express through her music; moving over to the Jazz genre when Chopin was not happening for her, 8 years ago. She is a thoughtful, searching player and her talent is rich enough to thoroughly entertain.

The opening track of her new solo album, "Flight Pattern of a Butterfly", leaves you in no doubt. All but one of the tracks are her own work, the exception being Burt Bacharach's "What's It All About, Alfie", and this certainly gets some treatment. The pieces unfold like the chapters of a book, her clean articulation and bright playing can have an entrancing effect, her classical involvement can not be denied, whether it is consciously introduced or otherwise, elements of those moody romantics, Chopin and Brahms, can be detected enriching her brave and personal style. She talks to you profoundly with her playing, reaching out and touching, moving things within you, gently revealing and causing you to think. Judy would be someone that you could look forward to having dinner with. You know that the conversation would sparkle, there would be plenty of new ideas and you would never be bored. She sees the human spirit as being on an endless journey; a restless one perhaps, one looking for an identity that can never be quite fulfilled.

This is a tremendously moving and worthwhile CD. The more it is listened to the more it will offer up its secrets.

Ferdinand Maylin
(Ferdinand Maylin is a freelance Jazz Critic based in Scotland)

Judy Lewis
Waiting On a New Day

Cadence Jazz Magazine
March 2003
New York

"A jazz recording made in Jerusalem is not that common. Pianist Lewis, however, uses that venue on this solo recording (plus one duet) Waiting On a New Day. The American artist plays her own compositions almost exclusively, with one Bacharach tune being the exception. From the opening notes, it is obvious that Lewis is a classically trained musician. Her approach to improvisation has the embedded structure of the European art form, and she uses it to develop richly phrased improvisations having a melancholy bent. Lewis introduces densely formed chord structures. She adds the classical developmental approach with her left hand and melodic expressiveness with the right. On the title cut, she overdubs electric keyboard segments, but this does not shake the weightiness of her approach or the brooding persona of her style.

The pensiveness of her playing is pervasive. On the theme from the movie Alfie, she sinks deeply into the tune's core while musically asking the probing question indicated by its title. Lewis also uses her voice as a backdrop for this and two other selections to add a choral effect. She lightens the program somewhat with her Children's Sketches comprised of four of her own compositions. These tunes dwell mainly in the upper register of the piano and reflect hope as opposed to the solemn atmosphere felt elsewhere. Electric keyboard overdubbing is used as well in one of the four tracks to convey these feelings. The closing number of the album is a duet with drummer Nathaniel Lasry, who adds a soft texture to the song.

Lewis is a talented composer and player, and she reveals much about her inner self on this set. Its seriousness translates directly to its attractiveness."

Frank Rubolino

Waiting On a New Day
Margen Magazine/Spain
July 2003

Una nueva y excitante approximacion al jazz combinado en esta caso elementos clasicos por esta pianista Americana afincada en Israel. Sin actitud dogmatica, Lewis deja la formacion de trio con la que publico dos albumes en esta mismo sella y se lanza a un vacio flexible e intimo, nnunca empalagoso que te acoge en su belleza.

"A new and exciting approach to Jazz combined, in this case, with classical elements by this American pianist living in Israel. With a non dogmatic attitude, Lewis leaves behind the trio format which publicized her two previous albums, and jumps into a flexible and intimate setting. Never too sweet, it wraps you in it's beauty."

Waiting On a New Day
Jazz Dimensions/ Germany

"The Israeli pianist and composer, Judy Lewis, plays a unique type of Jazz; more exactly a combination of Jazz and Classical genres. In such a case, the natural tendency would be to make comparisons to Keith Jarrett, another great pianist who's works reflect this fusion. However, Judy Lewis withstands such comparisons. Her music stands uniquely on it's own.

Her complete control of the solo piano medium, in all of its variety and her obvious devotion to lyricism, make for a beautiful and well rounded album. This is not music for the Jazz purists but will certainly interest a wider audience that appreciates beautiful, poignant piano music."

Carina Prange



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