Liner Notes - "I Can See Bliss From Here" I have been a fan of Lili Añel for years, but with I Can See Bliss From Here, her sixth recording, I have found a new, unexpected appreciation, amid an already multi-layered reverence for her music. Bliss is that album that every artist hopes for—Joni Mitchell’s Blue, Springsteen’s Nebraska, the Beatles’ Sgt. Pepper’s comes to mind—the one that redefines them. This is Lili’s breakthrough, a brilliant amalgam of first-rate vocalizing, songwriting, arrangement and production. Añel, a New York-bred singer-songwriter now based in Philadelphia, was raised in Spanish Harlem soaking up the musical roots of her Cuban-African–American heritage. Professionally, she grew up in the same Greenwich Village circle as Suzanne Vega, Shawn Colvin and Lucinda Williams. But unlike those singer-songwriters, who had a distinct style that was easy to capitalize on, Añel’s approach was more complex and therefore more difficult to categorize. One set of ears would compare her to Joan Armatrading, another, Phoebe Snow. One listener would say Nina Simone, while another would hear Joni Mitchell or Sade. Even comparisons to Paul Simon, one of her musical idols, are rightfully proffered. Comparisons can be helpful; they are guideposts. But the truth is that Lili is not “the next Sade.” She’s a unique original; a fusion of those familiar signposts, but a talent completely distinctive and matchless. (That said, wait’ll you hear her channel Al Green in “Blindsided 2”.) Same goes for genre. She isn’t just a pop or jazz artist; she isn’t solely a folkie or R&B singer—she is a singer-songwriter who transcends style. And there needs to be a place in the musical pantheon for an artist like that. I’ve been following Lili’s career since she used to perform at my music venue, the legendary Gerdes Folk City, where she took the same stage as greats like Bob Dylan, Judy Collins and Paul Simon, and she did them proud. She was one of the most popular and inimitable artists in a group that included many great talents, with one important quality—she was different enough to stand out. Honors followed as she garnered continual critical praise and won numerous New York Music Awards for her vocals, her songwriting and her recordings. (Lili wrote all the songs on Bliss, except for the last track, “Today,” written by her friend Jef Lee Johnson, who recently passed away, and “This Love Is Over” by Ray LaMontagne.) She produced one memorable album after another, and she continued to perform to adoring fans. But Bliss is one step beyond the Lili Añel we all think we know. Her songwriting, now informed by the recent economic downturn and the personal challenges that came along with it, has had her plumb deeper than ever before. She’s accomplished the almost impossible feat of turning topical situations into accessible songs. With Bliss, a Grammy-worthy recording, Lili has secured herself a place as an artist to be reckoned with, one that cannot be ignored. Let’s start with that incomparable smooth-as-honey voice. From soaring high notes to alto-deep primality, her rich timbre is what makes her so distinctive and drives the profound emotion of her songs. Her persuasive, percussive guitar playing is the perfect companion to a vocal that sways and slides through very expressive lyrics and often jazz-tinged melodies. Her superb vocalese is all about shadows, notes and phrasing standing outside and flitting between. The lilting, complex ballads—some being Jobim-worthy—are stunning, and her honest lyrics just pierce the soul. Añel also plays a bit with stronger Latin rhythms, as with “Something To Do,” which is one of the most autobiographical works she’s recorded. “Best Part of Me” is a beautiful love song to her son, Joey, and an homage to motherhood. “Go Home,” the album’s biggest revelation, is an infectious field-holler-styled blues lament that takes modern-day work drudgery to another level. Another surprise stand-out is Lili’s killer interpretation of LaMontagne’s “This Love is Over,” in which she completely reinvents the song in a captivating R&B groove that’ll plant itself in your head for a long time. “Out of Control,” with its spine-tingling lyric, is so filled with musical surprises, both instrumental and sung, it’s a musical firework. This is fine, sophisticated work. Much praise for the success of this recording goes to Dale Melton, who co-produced this recording with Lili. The musicians, all first-rate, are so skilled at subtlety, allowing Lili to shine front and center while still providing breathtaking musicality. Bliss is a gem. Lili Añel is one of the most exciting contemporary artists around. OK, listen to it now, and I guarantee… you will hear bliss from here. Robbie Woliver Director, New York Music Hall of Fame Review by Ken Franckling ("Ken Franckling's Jazz Notes") Think Joan Armatrading. Think Nina Simone. Then blend them together. That jazz and folk fusion is the intersection where we find the songs and wisdom of Lili Añel. I Can See Bliss From Here is her sixth recording as a leader. It is a gem, just like its 2009 predecessor Every Second in Between. Several songs, like “Climb the Wall” and “Losing My Faith,” are vivid personal takes on America’s continuing economic woes. The highlight is the brilliant and clever autobiographical journey “Something to Do,” which is gets a full-throttle treatment from its Afro-Cuban rhythm, Latin percussion and crack horn section. Dale Melton of the Philly-area band The Melton Brothers co-produced the CD with Añel. He also played acoustic piano, Hammond organ or Wurlitzer on most tracks. Singer-songwriter-guitarist Añel wrote nine tunes on this project. She also covers Ray LaMontagne’s “This Love is Over” and Jef Lee Johnson’s “Today,” the latter recorded just with voice and guitar. This latest project shows that music that comes from Añel’s experiences, and her heart, is powerful indeed. Brent Black / Not Just Jazz (Criticaljazz.com) A uniquely gifted artist that is raw, ethereal and incredibly real. Lili sounds like no one but herself, a rare gift in an industry of clones. New sounds, new songs, and new ways of presentation. I am on a musical quest. Having ranted on the evils of social media more times than I have space to list there are those small glimpses of humanity that when they make themselves known you begin to get a true appreciation of whether the artist is real or a manufactured entity coming straight from the board room table. Lili Anel and I Can See Bliss From Here is a reaffirmation that the elusive search for artistic bliss is a never ending journey. Whether you are a vocalist, an instrumentalist or you slap letters together in random order in an attempt to get a little wood on the ball in sharing an artistic perspective, Lili Anel is that sonic soul shower we all need on occasion. Is Lili Anel jazz? Not really, but what is jazz? Improvisational phrasing and technique can be argued to death. Arbitrary labels such as nu-jazz and neo-soul are but a feeble attempt made to pigeon hole some artists including Lili Anel with the bottom line being that labels are best served on cans of soup. Anel is a critics worst nightmare, a corporate critics worst nightmare as she effortlessly transcends genre with an earthy quality to her vocals and sincerity in her approach. Nothing pretentious, phony or contrived with I Can See Bliss From Here. Sounds like? Herself...Artistic comparisons are inherently unfair but...imagine the tone of an Anita Baker merged with the soul of a Meshell Ndegeocello, you would be in the ball park. I don't do traditional reviews, there is nothing traditional about me. I talk about sound, the manipulation of sound, soul, and the satisfying end result. The great comedian Martin Mull once stated writing about music is like dancing with architecture. Lili Anel is a lyrical poet that not only connects from a pure lyrical point of view with I Can See Bliss From Here but she has a magical ability to turn into a melodic chameleon, effortlessly shifting color and textures with the simple power of a voice unadorned with the vocal pyrotechnics more closely associated with the American Idol set. Lili is incredibly comfortable with who she is and where she is going. She embraces the creative moment in its completeness. Having worked in production with American Idol Season 8, I consider myself an official graduate of the Simon Cowell school of talent evaluation. Passing critical review on any artist should never take more than :30 to make the very basic determination of what is good. The underlying concept here is what is good does not always translate into what is commercial. In this case, Lili Anel takes the basic concept of good and commercially viable to that rarefied air of sonic bliss every artist longs to achieve.