"I went to Ryles 2/5 to check out the jazz brunch featuring the music of Patricia Adams, Ray Santisi and friends. It was one of the coldest days of the year; I figured I'd have an easy time getting a good seat. Much to my surprise people were lined up outside the club waiting to get in. I'm a coward. I abandoned the idea of getting a table and carried out an end run by having my meal at the bar. I was able to hear most of what was happening within the quartet above the din. It's easy to say that people show up Sunday mornings to get some food and chat; there is a lot of talking that goes on. But the audience seems to get bigger each time I show up. There has been no change to the menu. Some local convention may account for an occasional increase now and then,. But it would not account for the gradual increase in audience size over time. I doubt that the conversations are improving. Maybe it's the music. Maybe the audience is hearing it better and wants to hear more. I suppose that it's possible really good music could draw a crowd. Maybe that's what's going on . . ." CADENCE Magazine, April 2007 _____ "Patricia Adams sings as if she's been entertaining audiences all her life. In fact, she didn't get started until 1992, when she took the Scullers stage for a few minutes, got hooked, and left a 35-year career in human resources. How can a woman with this many years in middle management sound so warm and personable, and even a bit like Lena Horne? Go! doesn't know, but she's got it. She brings her quartet for brunch gigs at Ryles today and Sundays from 10 a.m. to 3 p.m. Adams and band will use the brunch gigs as live recording sessions, so we predict a knockout of a show." Amy Graves, BOSTON GLOBE, December 2004. ____ "Dearest Diva, Prints of brunch/1st Sundays at Ryles have the great Ray Santisi on Piano, Patricia Adams singing 'n swinging the standards, Marshall Wood, Bass, Rakalam Bob Moses with his drums - - from the bar at Ryles This incredible trio lets the first Sundays any month become your memorable Ryles Jazz Club brunch. Five year's luck to be here so often, listening, to watch, play, watercolor-ing as fine Sunday morning jazz is growing as intimately as it does in Ryles' atmosphere of friends together. "By now, I am nestled into ink and pen-in-hand as Ray's piano begins this morning visit, melt, belt, cool, Marshall implore, she'll coo and Rakalam's time's cooking. I draw live! With her feel for her audiences . . . Patricia's noticed. ------------------- BACKGROUND . . . "Spring 2000, old friends, Joanne McKracken and George Mokray, got me out to hear Patricia Adams at Ryles. I still remember a thought: 'This'a first since Nat "King" Cole I've listened to lyrics so effortlessly and intently.' "Set's finished and Patricia's at our table. George introduces Joann, then me. "Hello, Oh! You're doing?!" I explained I often sketch at live performances. Delighted by my pen and inks, she wants to borrow them for just a moment. She turned, faces the audience and shouts: "Emmanuelle! Look what we have!" Not a gospel shout - - as I first thought. Emmanuelle LeGal's art directing Patricia's "Out of this World" CD "it's our cover!" Patricia excitedly exclaimed while she whisked away my 20-odd drawn-on-paper-shards to a nearby table. More booking's made new watercolors even few of the 20 reached Out Of this World." Bill Commerford/Boston www.nogome.com/blogs/bill/ ___ Patricia Adams, bandleader and vocalist, shuttles her renditions of standards from renaissance Harlem and Tin Pan Alley between New York and Boston venues. Reviewers say, " . . . reigns when she steps to the microphone . . . backed by a superb trio . . . classy song stylist . . . her ability to put together a musical road atlas sets Adams apart . . . voice is silky smooth, yet strong". Stepping onto a nightclub stage for the first time in 1992 at Scullers Jazz Club in Boston, Adams segued to designated show opener there for the Frank Wilkins' Vocal Showcase until 1996. Two years, a hundred open mic's and twenty nursing homes later, she took the plunge and traded three decades of a Fortune 500 career for life as a full time artist. Her performances attract those who enjoy the jazz and blues standards of the 1930's and '40's. Holding BS and MBA degrees, Adams also studied music theory, harmony, and improvisation at the New England Conservatory in Boston and at the Performing Arts School of Worcester. She has studied with Semenya McCord, Dominique Eade and Frank Wilkins in Boston and she continues her vocal study now with Jeannie Lovetri of Voice Workshop, Sheila Jordan and Kirk Nurock in Manhattan. Adams' discography includes Live@Ryles Jazz Club, Sets 1, 2 & 3 (2005), With Our Compliments!(2004), Out Of This World (2001)which placed in four categories on the 2001 Grammy Awards ballot, Blue For You (1998),and Raw Silk (1996). Her recordings are available through CDBaby.com and subscribers to music services offering digital distribution. She is a voting member of the National Academy Of Recording Arts & Sciences and served on the board at the New England Conservatory. RAY SANTISI is an internationally known jazz pianist who has played as featured soloist with Charlie Parker, Stan Getz, Mel Torme, Irene Kral, Natalie Cole, and countless other well-known jazz greats. He has recorded on major labels, such as Capitol, Roulette, United Artists, Bethlehem, Transition, Rasan and Sonnet. Boston Globe jazz critic Ernie Santusuosso: "a man sitting on top of the world, professionally speaking." The Raleigh, N.C. News and Observer called him " the most exciting piano player I've heard since those first sessions with Bill Evans and Marian McPartland and Oscar Peterson." The Boston Phoenix has said that he is "Boston's most in-demand jazz pianist." Teaching with Stan Kenton's summer jazz clinics on college campuses throughout the country, and performing in Europe, Scandinavia, and Asia, Santisi received grants for composition andperformance from the National Endowment for the Arts. He is a sought-after jazz pianist worldwide. Santisi collaborations bring the vitality of fresh, contemporary arrangements to the classic music of the Great American Song Book. Fine 'vocalese' complements and enhances a unique ensemble effect. Boston, MA ". . . A question for all you cynical, sarcastic Jazz fans: What is the last thing you'd expect to run into at a Jazz brunch? Yes. Jazz. But not so fast. I sat down for brunch 2/6 at Ryles and caught Ray Santisi (on acoustic piano!), Marshall Wood and Bob Moses doing what they know how to do superbly. Vocalist Patricia Adams had the good taste to bring along that fine trio and put them to work. It did work. There was plenty of room for them to solo, support and interact. And nobody got in the way of the words. Good thing, too, because Ms. Adams knows about words. The young vocal starlets of the Jazz world today seem to pick up the chestnuts for the first time out of the fake book. But Patricia Adams had these items for breakfast and lunch as a child, living and breathing before some of those tunes saw sunlight. And so when she offers "Every Time We Say Goodbye", the patina of World War Two comes with it. No gimmicks. Just really good music. She's there every first Sunday of the month." Stu Vandermark, Cadence Magazine, April 2005 MARSHALL WOOD [bass], Born in Omaha, Nebraska and raised in Washington, D.C., Marshall moved to New England in 1979, where he quickly became one of the most sought after bassists in the area. His reputation as a swinging and sensitive musician landed him recording dates with Anita O'Day, Monty Alexander, Tommy Flanagan, Dave McKenna, Ruby Braff, Scott Hamilton, and Gray Sargent. He has also performed in top jazz festivals in the U.S., Canada, Europe, and South America, and has toured with Tony Bennett BOB MOSES Drummer, Composer, artist, poet, visionary, nature mystic, Moses' life is a continuous quest for vision, spirit, compassion, growth and mastery in a multiplicity of art forms. "A fine drummer, Bob Moses has received his strongest recognition as a colorful and adventurous arranger/composer for large ensembles. He played as a teenager with Rahsaan Roland Kirk (1964-1965), formed the early fusion group Free Spirits with Larry Coryell (1966), and toured with Gary Burton's quartet (1967-1969). Moses collaborated with Dave Liebman in the trio Open Sky, recorded with Gary Burton in the mid-'70s, and worked with Jack DeJohnette's Compost, Pat Metheny (recording Bright Size Life), Mike Gibbs, Hal Galper, Gil Goldstein, Steve Swallow, the Steve Kuhn/Sheila Jordan group (1979-1982), George Gruntz's Concert Jazz Band, and Emily Remler (1983-1984). He recorded as a composer for his own Mozown label in 1975, but Moses' reputation as a writer rests primarily with his Gramavision releases, especially When Elephants Dream of Music (1982), Visit With the Great Spirit (1983), and 1994's Time Stood Still. Nishoma was issued in fall 2000." ~ Scott Yanow, All Music Guide