"A fantastic first outing for a very clearly musical and promising artist. Her piano playing is gorgeous and her melodic sense is something to keep an eye out for."
"JFN (from Summer Swee-Singh & the Crazy 88) is exciting, fresh and melodic."
"This one comes from a pianist—'professional ivory tickler' she calls herself (chuckle) on her page—Summer Swee-Singh. We had a submission just today, in fact, from her, and I was so taken by the production of this piece that I wanted to fit it in tonight and introduce [all of you to her]. This piece is called
and this is from the album Summer Swee-Singh & the Crazy 88, so find her on Facebook and on the web. Enjoy this track."
"That was 'JFN' by Summer Swee-Singh and that’s off of her debut album—I was reading on her website; it was actually just released this June. So that's available on iTunes and wherever music is sold, as well as physical copies. She has quite an extensive biography. She’s based out on the West Coast in the Los Angeles area. You can find her on YouTube…over 1.9 million total views and has been reposted by numerous other big names in the industry. She’s a real cross-section of styles and genres, but wow, that was just a stunning, classical piano arrangement—an original song... Definitely check out more of her music and we’ll be looking forward to featuring her more on the program in the weeks to come."
"The cover artwork of Summer Swee-Singh’s debut album reflects her serious commitment to everything she does with just the right amount of humor and not taking herself too seriously, an attitude we need more often in the music business. Her playing reflects her big heart and deep sensitivity. Go Summer!"
"Summer Swee-Singh & the Crazy 88 is a gorgeous and sentimental compilation of expertly composed and improvised, genre-defying instrumental pieces, commemorating the influential people and places in Summer’s life. Summer’s remarkable ability to create seamless and thoughtful streams of music is truly unparalleled and the fact that four of her tracks were improvised on the spot is nothing short of masterful. Through her live and minimally-edited recordings, Summer invites us to witness her musical thought process unfolding right in front of us, creating a uniquely intimate and fascinating listening experience, as well as snapshot of her boundless talent."
"Those of us who have been keen followers of Summer Swee-Singh’s musical metamorphosis may have begun by binge-watching her Classical Skrillex Anthology on YouTube—and this early project, with its bold oxymoronic title, evinces the essential hybridizing impulse that quickens her work. Who knew that Skrillex’s hyper-processed solo-studio tunes could be compellingly re-interpreted as classical piano quartets, played in real time by four women sporting smart cocktail dresses who sustain their sober art-music mien even when shouting “Yes! Oh my gosh!” in the midst of “Scary Monsters and Nice Sprites”?! We kept replaying these clips, dazed and entranced by the singular new world into which they lured us.
So it is a pleasure to encounter “JFN” and “Samina,” two tracks from Summer’s new CD recording of original compositions, Summer Swee-Singh & the Crazy 88. In “JFN,” a striking array of disparate styles is deftly interwoven to effect an uncanny synthesis. Schumann’s “In der Nacht” from Fantasiestücke, the slow movement from Beethoven’s “Pathétique” sonata, Howard Shore’s film scores, Claude-Michel Schönberg’s plaintive music-theater songs, Chick Corea’s piano improvisations, Chopin’s Nocturnes—channeling these (and other) idioms, Summer produces ardent and authentic musical speech which transcends and anneals her sources. On the one hand, one’s head spins as one subconsciously tracks the colorful interplay among these manifold elements; on the other hand, one savors the spacious and poignant narrative into which these antecedents have been silkily subsumed.
We begin, for example, with a gently descending scalar cascade that could serve as a plausible introduction to either a Chopin prelude or a 1940s torch song. This leisurely major-scale descent lands surprisingly, though, on a dark minor chord; a Chopinesque thickly-textured swirl immediately ensues, one which gradually yields to the first melody of the composition. This tune, in turn, is a close (if inadvertent) simulation of the primary gesture in Schumann’s “In der Nacht”; it is a meditation reminiscent of Chick Corea’s “Piano Improvisations”; it is a beseeching lament that would be quite at home in The Lord of the Rings film series; it is all of these, and none of them. “JFN” scrolls forward, tracing further its synthetic course, momentarily thinning to transparent classical counterpoint, shifting harmonic gears while adapting nineteenth-century piano textures, the entire process governed by an abiding rubato—sifting through, hovering above, and occasionally running headlong through these varied materials.
As this music hovers and sifts and ponders and whirls, it is impossible not to savor the sumptuous sound of the Ravenscroft 220 grand piano used on this recording. Recording engineer Robby Moore has done an excellent job in capturing the warmth and clarity of this fine instrument; the sound is both intimate and voluminous.
“Samina” is rather different: here a klezmer-like tune is stylishly spun by Summer and her fine collaborating violist, Nils Bultmann. Halfway through, though, we move to a darker pedal-point passage evocative of Howard Shore’s world; the subsequent transition back to the jaunty main theme invokes textures and harmonies that are nearly Brahmsian. The disarming plangent ending dangles and haunts.
Auspicious and tantalizing, “JFN” and “Samina” bespeak a keen original voice, and extend intrepidly the implications of Summer’s early Skrillex-infused explorations."
"I totally dug everything about ('JFN'). It’s so beautiful--I loved the vibe and the style of it and (Summer’s) performance was amazing!"
"I love Summer's music! It breaks new ground, infusing elements of jazz and popular music, while still nodding to the classical. Especially liked the haunting and beautifully lyrical quality of JFN, and the violin solo on Samina added a folk element in just the right amount. Beautiful!"