Dida Pelled
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He has already made his mark both as a performer and for his record production, building a devoted fan following with regular club performances, through his interpretations of jazz standards and insightful originals, in immaculate jazz/blues guitar playing and a soft voice that draws the listener in deep
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Jim Bessman, The Examiner
Guitarist and vocalist Dida Pelled previous Red Records release, Dida Pelled: Plays and Sings (Red Records, 2011) was one of my pics for Best-of-the-Year in 2011). That recording was so refreshingly organic that it has remained in my listening rotation since that time. Pelled snuck in a self-produced Modern Love Songs (2015) between Plays and Sings and the present A Missing Shade of Blue. It is as exceptional as the first recording. That said, expectations for A Missing Shade of Blue are necessarily great.
Organic. I like to use the word to describe music made with a minimum of effects and sonic engineering. Music that is like the tomato you picked off the plant in your back yard in the middle of July that is acidy tart and sporting a “realness” that is light years away from what you get at the local Walmart. It is music that is tactically genuine and real. That is the music that Dida Pelled plays. It is robust, with a freshly scrubbed sound that is both basic and advanced. Pelled is not going to dazzle you with technique save for than which is valued for what not is played. She has a Miles Davis-Count Basie bluesy brevity to her playing that makes her music irresistible.
C. Michael Bailey, AllAboutJazz
«When it comes to music, Dida Pelled doesn’t discriminate. This young guitarist-vocalist—a doe-eyed ingénue in appearance, a mature artist in reality—has proven to be an inimitable double-threat who’s more concerned with serving a song and doing justice to the music than fitting into a neat little stylistic box. She’s equally comfortable playing straight-up jazz at Smalls in Greenwich Village, interpreting pop, jazz, and/or country classics at intimate Manhattan spots like Lelabar or Antibes Bistro, writing her own tuneful material, or joining the Diva Jazz Orchestra for a program of Johnny Mandel tunes at Dizzy’s Club Coca Cola.
In 2009, at twenty-one years of age, Pelled moved to New York from her native Israel, and she quickly made her presence known. She attracted the attention of trumpeter Fabio Morgera, who helped to broker her first record deal. He went on to produce Pelled’s Plays And Sings (Red Records, 2010)—a debut that focused mostly on standards and songbook favorites, painting Pelled as a cultivated, in-the-tradition guitarist and a one-of-a-kind vocalist, capable of instantly capturing the ear’s attention with her dreamy cooing and wooing. For that outing, she teamed up with bassist Tal Ronen, a close friend and musical ally, and drummer Gregory Hutchinson, an A-list jazz drummer if ever there was one. Morgera and trumpeter Roy Hargrove sweetened the deal, each making notable guest appearances and complementing the work of the core trio. But it was Pelled, not the bigger names, who made the biggest impression».
Dan Bilawsky, All About Jazz
«With 10 fingers that are wise beyond their 21 years, Dida is the jazzbo guitar slinger that Emily Remler should have been.” “Rounding things out with a pomo Betty Boop voice that easily matches her cutie pie face, she is a jazz promoters dream. A red ribbon package throughout, Dida is one of the brightest new stars on the jazz horizon. Hot stuff».
Midwest Record
Guitarist and vocalist Dida Pelled previous Red Records release, Dida Pelled: Plays and Sings (Red Records, 2011) was one of my pics for Best-of-the-Year in 2011). That recording was so refreshingly organic that it has remained in my listening rotation since that time. Pelled snuck in a self-produced Modern Love Songs (2015) between Plays and Sings and the present A Missing Shade of Blue. It is as exceptional as the first recording. That said, expectations for A Missing Shade of Blue are necessarily great.
Organic. I like to use the word to describe music made with a minimum of effects and sonic engineering. Music that is like the tomato you picked off the plant in your back yard in the middle of July that is acidy tart and sporting a “realness” that is light years away from what you get at the local Walmart. It is music that is tactically genuine and real. That is the music that Dida Pelled plays. It is robust, with a freshly scrubbed sound that is both basic and advanced. Pelled is not going to dazzle you with technique save for than which is valued for what not is played. She has a Miles Davis-Count Basie bluesy brevity to her playing that makes her music irresistible.
C. Michael Bailey, AllAboutJazz
«When it comes to music, Dida Pelled doesn’t discriminate. This young guitarist-vocalist—a doe-eyed ingénue in appearance, a mature artist in reality—has proven to be an inimitable double-threat who’s more concerned with serving a song and doing justice to the music than fitting into a neat little stylistic box. She’s equally comfortable playing straight-up jazz at Smalls in Greenwich Village, interpreting pop, jazz, and/or country classics at intimate Manhattan spots like Lelabar or Antibes Bistro, writing her own tuneful material, or joining the Diva Jazz Orchestra for a program of Johnny Mandel tunes at Dizzy’s Club Coca Cola.
In 2009, at twenty-one years of age, Pelled moved to New York from her native Israel, and she quickly made her presence known. She attracted the attention of trumpeter Fabio Morgera, who helped to broker her first record deal. He went on to produce Pelled’s Plays And Sings (Red Records, 2010)—a debut that focused mostly on standards and songbook favorites, painting Pelled as a cultivated, in-the-tradition guitarist and a one-of-a-kind vocalist, capable of instantly capturing the ear’s attention with her dreamy cooing and wooing. For that outing, she teamed up with bassist Tal Ronen, a close friend and musical ally, and drummer Gregory Hutchinson, an A-list jazz drummer if ever there was one. Morgera and trumpeter Roy Hargrove sweetened the deal, each making notable guest appearances and complementing the work of the core trio. But it was Pelled, not the bigger names, who made the biggest impression».
Dan Bilawsky, All About Jazz
«With 10 fingers that are wise beyond their 21 years, Dida is the jazzbo guitar slinger that Emily Remler should have been.” “Rounding things out with a pomo Betty Boop voice that easily matches her cutie pie face, she is a jazz promoters dream. A red ribbon package throughout, Dida is one of the brightest new stars on the jazz horizon. Hot stuff».
Midwest Record