DOWNLOADABLE PHOTOS
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info@deannabogart.com
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Booking Information Contact
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301-854-0888 or email info@visionintl.com
REVIEWS
Denver Film Fest
Deep Sea Blues (Documentary)
By JOE LEYDON
A Mug-Shot Prods. production in association with Legendary Rhythm & Blues Cruises. Produced by Robert Mugge. Executive producer, Roger Naber. Directed, edited by Robert Mugge.
It's tempting to dismiss "Deep Sea Blues," the latest music documentary by vet helmer Robert Mugge ("The Gospel According to Al Green"), as a slick infomercial for the Legendary Rhythm & Blues Cruises, weeklong cruise ship jaunts organized by Roger Naber (the doc's executive producer). But it's difficult to deny the appeal of spirited performances by Bobby Rush, Deanna Bogart, Buckwheat Zydeco, Lil' Ed & the Blues Imperials and other luminaries who light up the pic. After dropping anchor at some fest circuit ports, "Deep Sea Blues" should make a respectable splash as homevid and cable fare.
Predictably, Mugge includes enthusiastic testimonials from passengers -- many of them repeat customers -- and entertainers on the Caribbean cruise captured in the doc. But the sailing is smoother, and the good times roll easier, during such musical highlights as Tab Benoit's Cajun-flavored "We Make Good Gumbo," Rush and Bogart's playfully naughty duet on "Ride My Automobile," and Earl Thomas' straight-from-the-soul "Maybe in the Next Life." Musically speaking, the only real disappointment is the lack of a set by prominently-billed Taj Mahal, who offers a lively cooking demonstration, but none of his hit music.
Camera (color, DV), David Sperling, Christopher Li; sound, Bob Schachner, Mike Taylor. Reviewed on DVD, Houston, Nov. 24, 2007. (In Denver Film Festival.) Running time: 118 MIN. |
?11th Hour (Vista Records)
Deanna Bogart/Scott Ambush/Mike Aubin/Dan Leonard
Pianist, saxophonist, songwriter, vocalist–Deanna Bogart is all of these as well a
consummate entertainer. Even if a recording can’t capture the flavor of one of her meaty live shows, 11th Hour is still a hearty slab of blues-inflected boogie-woogie,
with dashes of R&B, soul, and funk thrown in.
Much like Bogart’s previous work, 11th Hour has something of a late-night feel -- a treat for a warmed-up crowd. A large part of this comes from Bogart’s playing style, which is assertive, even forceful, without becoming overwhelming or strident. Whether ripping into the uptempo “Heart ‘n Soul”, living up to the title of “Thrash Boogie 2010”, or letting the music breathe on the reflective “Have a Little Faith”, Bogart and company perform with the consistency and finesse of a well-oiled machine. Not that this music’s mechanical–Bogart’s work has always felt spontaneous. But it’s got that feeling of synergy, of all the pieces working together. From the moment 11th Hour kicks off with the R&B flavored “Sweet Pea”, you know you’re in good hands.
A highlight is “Love and Attention”, a duet with Tommy Castro that showcases the strengths of both musicians. It’s slower than the two songs that precede it, but not syrupy. With a nice, clipped beat and just a dash of soul, it’s a sweet moment on an album that mostly favors a bit more attitude. Another softer moment is “Avery’s Town”, a multigenerational paean to love and loss that reveals musical and lyrical depth. It’s entertainment, sure, but it has a solidity born of maturity and life experience that underlies the considerable musicianship and technical prowess at work here.
Bogart’s longtime fans won’t be disappointed with 11th Hour, and it’s a perfect
opportunity for new listeners to discover her. As with her previous recordings, the final notes of the final song (“Eleventh Hour Blues” in this case) give the album the feeling of having stayed at the bar well past closing time, waiting for–and receiving - just a little more magic.
– Genevieve Williams
Blues Revue, Aug/Sept 2009
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May 27, 2009
by RICK GALUSHA
IT’S THAT GOOD
The latest album by Deanna Bogart, 11th Hour, pushes the envelope of what many would consider to be, “the blues.” However this is an artist that any music fan can easily embrace because the music defies hewn category. Bogart’s songs are intelligent, her lyrics are endearing and her arrangements far surpass the vast minions of faceless sound-alike zombies that permeate the landscape. Yes, it is that good.
Radio programmers will want to pay close attention to the album’s 3rd track, “Love and Attention.” While this stunning, show stopping duet with Tommy Castro is certainly not going to draw much reward from the blues award system, this is simply one of the finest radio friendly pop songs since the term, ‘Philadelphia Soul’ was coined in the 1970’s. The track is immediately credible with Bogart’s songwriting and arrangement on the ballad well beyond exceptional. Yes, it is that good.
On ‘11th Hour’ Bogart does two covers, ‘Since We’ve Ended as Lovers,’ written by Stevie Wonder but given to Jeff Beck as a reputed payoff for reneging on the promised track, ‘Superstition.’ John Hiatt’s, ‘Have a Little Faith’ is also given Bogart’s careful touch.
Admittedly, while Deanna Bogart is an extraordinary musician, the presence of a gifted band is apparent. On the albums opening track, ‘Sweet Pea’ guitarist Dan Leonard slices in chords while the band swings in a groove reminiscent of “Aja” period Steely Dan. The band’s bassist Scott Ambush and drummer Mike Aubin carefully under-play while giving the songs a solid base from which to grow. On the track, ‘Unkl Funkl’ the band ventures into a tasty funk/ jazz piece that shows just how talented this band really is – with Ambush’s rapid fire fingers giving the listeners that much loved guitar attack while Leonard fires back with a highly textured response. More traditionally orientate blues show will want to focus on the smoky late-night sultry notions of the album’s closing track, “Eleventh Hour Blues.”
So no, purist blues fans are probably not going to fawn over Deanna Bogart’s latest collection of songs. Everyone else will easily find this an album that will bear up to repeat listening for years to come. Yes, it really is that good.
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?June 8, 2009
by CHRISTINA LEE
DC Live Music Examiner
?Deanna Bogart
While blues music can convey a sense of longing, the musings and sounds of Bogart's latest album evoke an unconventional wisdom. She begins “11th Hour” as a young girl searching for her sound (“Sweet Pea”), then ends it as a grown woman who lets love slip away (“Eleventh Hour Blues”). And with all of the little journeys she embarks in between, Bogart directs the listener through a swirling mix of blues and jazz. See how bandleader – and Maryland native – Bogart blends her newest songs with the rest of her 21-year-old repertoire at the National Gallery of Art's Sculpture Garden. |
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Apr. 28, 2009
By JONATHAN TAKIFF
Philadelphia Daily News
Deanna Bogart doesn't get nearly the respect she deserves as a good-timey, blues-tinged singer, able keyboardist and bandleader. Her "11th Hour" (Vista, B+) showcases Bogie's versatility, from her apt cover of John Hiatt's "Have a Little Faith" to the sardonic, Steely-eyed original “High Horse” and instrumental tribute “Almonjoi”. |
April 2007
DEANNA BOGART • REAL TIME
BLIND PIG BPCD 5107
Multi-talented multi-instrumentalist Deanna Bogart is back on the scene with "Real Time," a fine collection with her smooth vocals mixed in with her uncanny sax and keyboard wizardry.
Deanna's joined on this set by Scott Ambush on bass, Mike Aubin on drums, Dan Leonard on guitars, and Eric Scott on backing vocals. She keeps the pot boiling, tho, with her strong singing and writing, as eight cuts are originals.
The opening "Real Time" treats us to a musical history lesson, while "Blue By Night" has a sultry, Norah Jones feel to it. "Blues In The 'Bine" is a hot sax instrumental, while "Bite The Bullet" shows us just what a mean left hand Deanna possesses...
We had two favorites, too. A funky backbeat drives "Are You Lonely For Me Baby," while Deanna gives a cool, jazzy reading of the Brook Benton/Dinah Washington chestnut, "Baby You Got What It Takes."
Deanna Bogart deserves a wider audience. A fine singer with killer musical chops, here's hoping that "Real Time" gives her the recognition she deserves! Until next time....
Sheryl and Don Crow
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FALL IS CD SEASON
Tues. Sept. 12, 2006
The recording industry is offering everything from The Geator to Bob Seger, Brazilian Girls to Barenaked Ladies
By JONATHAN TAKIFF
BLUES POWER
Blues-rocking Deanna Bogart is something else. On "Real Time" (Blind Pig, B+), she plays a stellar boogie-woogie piano and a pretty mean sax, flourishes her highly finessed songs (in country gospel, pop and jazz instrumental veins) about the here and hereafter, and sings them with equal power and conviction. Even Bonnie Raitt diehards would be impressed.
http://www.philly.com/mld/dailynews/15500143.htm
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Sept. 2006
Review by Steve Leggett
Maryland's Deanna Bogart is an explosive live performer, mixing in several streams of American vernacular music into her sets, ranging from funky R&B romps to hushed, Norah Jones-like jazz-pop ballads, and she just happens to be a dynamite barrelhouse piano player who also plays a pretty mean tenor saxophone, as well. Her versatility is truly astounding, and while it might be safe to say that everything she does grows out of the blues, to label her a blues artist doesn't even begin to cover the half of it. On Real Time she offers up a typically varied program of New Orleans R&B, late-night blues, smoky jazz ballads, a touch of country, and some rousing boogie-woogie piano instrumentals, but what keeps it all stitched together is her strong, sultry singing. Highlights include the rocking opener, "Real Time," the loping, wise "Everybody Has a Story," the lovely and classic "Blue by Night," the late-night jazz of "Blues in the 'Bine" (where Bogart's sax playing gets to shine), and the storming piano instrumental "Bite the Bullet." It's easy to be distracted by this wide range of styles, and given Bogart's explosive piano skills, to view her as a blues piano player first and foremost, but what gets lost in the shuffle is the fact that this lady can sing (and write, as well -- all but two of these ten tracks are Bogart originals), and if some marketing wiz out there can ever figure out how to package all this talent into a form that the mass public can recognize (how about as a funkier Norah Jones?), then Deanna Bogart has a good chance to be a household name. Meanwhile, her albums get tossed in the blues bins, and she truly deserves a wider audience.
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:47rn288w054a
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