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BIO OF MARIA GUIDA, jazz vocalist by Scott Yanow A very appealing singer with a warm voice and the ability to express the hidden beauty found in superior lyrics, MARIA GUIDA recently recorded her debut CD, SOUL EYES. Throughout this impressive and highly enjoyable set, the beauty of Maria's voice is equaled by her understanding of the words and the creative spirit of her musicians. In fact, there was such an immediate communication between all of the participants that SOUL EYES was recorded in it's entirety in one day. "I was blessed with some of the best musicians around," recalls Maria, "and they made it easy, fun and relaxed. I love pianist James Weidman's playing. He's very lyrical, his harmonic sense is beautiful, and he plays wonderful ideas that inspire and support my singing. I've known bassist Dean Johnson for 20 years, and this is the first time we've ever played together. I love his full, rich tone - and his solos are always beautiful and often capture a spirit of fun. Drummer Tony Moreno and I did a couple of gigs together over the years, and I've always loved his tasteful playing. He puts a lot of fire and excitement into the music and, at the same time, his drumming is very sensitive with singers. Ron Horton is a phenomenal trumpeter and flugelhorn player. I love his soulful sound, his musical ideas, and his emotional intensity. I am so thrilled that they are all on this CD." While most of the standards on Soul Eyes are familiar, these versions are unique. "It was very important to include a bit of myself and my take on the world, because so many people have recorded standards. I wanted to create a CD that brings these beautiful tunes to life in a way that was a bit different from the way other people have done them, with my point of view." Certainly this version of the opening "How Little We Know" differs from previous renditions. It is given a gentle interpretation as Maria sings about the mystery of love, and it becomes quite touching near it's end when the tempo slows down. "The thing I love about 'Inside A Silent Tear', a beautiful song written by Blossom Dearie, is how it allows the message to shine. Love can be tearful and love can be sad. We sometimes make wrong choices in love, but the feeling behind this tune keeps it from being depressing. It's a very truthful song." Maria digs so deep into the lyrics that eventually the words are not even necessary to express her feelings and she sings wordlessly for a chorus. Ron Horton's flugelhorn blends beautifully with her in several spots. The next two songs pay tribute to John Coltrane. On "Bessie's Blues", Maria sings Coltrane's memorable solo in addition to the melody. The most famous version of Mal Waldron's "Soul Eyes" was recorded by Coltrane in 1962. "I have always been very moved by the beauty of this song. I was surprised to discover that, in addition to the gorgeous melody, Mal Waldron also wrote the lyrics." "Let's Get Lost" is closely identified with Chet Baker and is given a joyful, swinging and carefree rendition. "I really love Chet Baker and I used to memorize a lot of his solos. This song always brings a smile to my face." Also quite happy is "East Of The Sun", which is described by Maria as "a beautiful picture of an ideal situation." On "Spring Is Here", Maria perfectly balances the sadness of not being loved with the happiness generated by the arrival of spring. In addition to it's opening theme, "The Way You Look Tonight" was given a new set of lyrics and a fresh melody composed by Maria that fits in with the vintage piece's original plot. "Jay Clayton suggested that I sing 'The Night We Called It a Day'. I love it's play on words and the way that it expresses feelings through visions of nature." This heartfelt version really shows off the beauty of Maria's voice. The singer's playful side is displayed on "No Moon At All", which (with it's sly wit) hints at what could happen in the darkness of the night when no moon is shining. Mar
