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"Her attractive voice and her sensitive interpretation of the lyrics are both in full display... The final eight bars where [Ken Peplowski] interacts with the singer is exquisite..."

-- Scott Yanow, Jazz Inside Magazine

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"Ms. Meissner is definitely in the top tier of today's female jazz singers."

-- Ron Forman, WKRB-FM, NYC

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"Might as well confess! Susie Meissner can really sing! Each listener will have more than one favorite... here they are vocal and instrumental triumphs."

-- Bob Gish, Jazz Inside NY

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Bob Gish Reviews I'm Confessin'

From the CD Reviews section of Jazz Inside NY, April 2011

Might as well confess! Susie Meissner can really sing – and the sidemen who accompany her can really play! The listener is under no duress to confess this of course. It all comes as naturally and as liltingly as Ms. Meisner's voice. The play list helps too.

You just can't go wrong with the oldies heard here. There's not a lemon in the lot, each one of them part of the great American songbook. Each tune is dusted off and delivered with fresh aplomb, allowing not only the vocals but the solos to take you back, assuming you're of a certain age, to seemingly simpler times and tunes. And in the tradition of jazz and popular music hard times are mitigated by the enjoyments of music, herein all with a jazz inflection.

Wycliffe Gordon's solo on the title track echoes Meissner's intimacy and phrasing. (He's great too on "Slow Boat to China.") Dean Johnson's solo and pristine accompaniment on "I Love You," melts mellifluously into Greg Riley's soprano sax solo, making for a pleasurable triadic collaboration, especially as Meisner slides into a crescendo at the bridge.

Endings are always crucial and highlights of all the tunes are the concluding measures and the changes chosen, be it a button, a major ninth, or an unresolved dominant. On "Just Squeeze Me" Freddie Hendrix and Riley hold forth with muted trumpet and tenor sax cross-voiced to blend seamlessly into John Shaddy's swingin' piano solo.

All of the tunes are rendered successfully and each listener will have more than one favorite. It's maybe possible to mess up "I'm Just a Lucky So and So," "Tangerine," "The Nearness of You," or "Skylark." Here they are vocal and instrumental triumphs. Johnson brings "So and So," into its own, complementing Meissner's bluesy delivery of the lyrical joy expressed in the lyrics. Paul Meyers makes "Tangerine" live again as a Latin standard, always requiring a guitar and a guitarist of note, never in the way of the concluding bars of solo sax.

Arrangements and texture can make or break a song. Shaddy's piano introduction to "The Nearness of You," and his extended accompaniment of the vocal illustrate again how essential the keyboard is to a vocalist. Talk about nearness — it's here not just in the lyrics but in the dynamics of just voice and rhythm section. "Skylark" brings Paul Meyers to the forefront again with the soft, acoustic chording and a haunting, sensitive solo so fitting to this beautiful tribute to music, song, and love.

So, confessions are easy here. This is beautiful music all around, done up by those who love the wonder of it.

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