My love - it amazes me
How we still dance in the sun
Still move in unison - though we’re no longer young

At times we lose our rhythm
And at times forget the steps
But there’s so much life left in this sweet duet

Steady swaying
Subtle turns
A touch - a fall - a climb!
We breathe together Our souls are intertwined
-We stretch the dance of time.

Once we learn to listen
To the space between the beats
Learn how the mind retreats
Allow our hearts to meet

So that when styles change - and beauty fades
And the busy world moves on
We’ll still be singing our silent song.

Steady swaying
Subtle turns
A touch - a kiss – a sigh!
We breathe together
Our souls are intertwined
-We stretch the dance of time
We stretch the dance of time
We stretch the dance of time.

© Rondi Charleston 2011

Liner Notes by Will Friedwald

A few years ago, an American family, consisting of Rondi Charleston, her husband, Steven, and their young daughter, Emma, made a trip to Israel. They visited the biblical land of Jerusalem – where Jews and Muslims live side by side, but, normally, their cohabitation, so to speak, is hardly harmonious. The land is, as Rondi describes it, an ancient battleground "where people sacrifice their souls / for the mysteries of faith" and the battle is ever ongoing, waiting to erupt at the slightest provocation.

While the three Americans were there, a wind came from the East, and then "the heavens opened up": almost miraculously, it began to snow. Needless to say, this is an extremely rare occurrence in this part of the world. The local residents of both faiths – and both sides of the political and military divide – were so struck with shock and awe that, just for a brief interval, they somehow forgot how much they hated each other. At first they just stared up at the sky with a sense of wonder. When the snow started to accumulate, the children of both factions spontaneously began playing together in it ("A silvery playground as far as the eye could see"), and for a second, they didn't seem to care who was Jew and who was Arab. The snow became a kind of purifying force; just for this moment, the region was something other than what it had been yesterday and what it would be again tomorrow.

If you had told anyone this was going to happen, they wouldn't have believed you – as Rondi says, "Who could imagine this possibility?" I've tried to put it down in words for you just now, but this is a story that's meant to be sung rather than read, performed rather than written. Her original song, Land of Galilee (with music by Lynne Arriale) is as vivid a piece of musical storytelling as I've heard in a long while. She sets up the tale with a dramatic, rubato verse, and some long sustained notes with a pentatonic feeling – very mysterious and middle-eastern indeed. The mood lightens considerably when she gets into the meat of the narrative. When she describes how the age-old enemies throw their swords away, Rondi sings with an open-eyed sense of wonder. (Even in the audio-only medium, you can quite literally see her eyes.) The tone of her voice fully conveys as much of the tale as her words themselves.

That's the tune that most stands out for me inWho Knows Where the Time Goes, just as it did when I heard her sing it live at Dizzy's (Jazz at Lincoln Center). At that time, she was celebrating the release of In My Life, a beautiful album that, like most vocal packages, was highly piano-centric. Here, however, the role of musical director is played by the outstanding guitarist Dave Stryker. It therefore follows that, even though two exceptional keyboardists are heard here on the current project, the overall outlook, between Charleston and Stryker, is considerably more guitar-driven than before – and the repertory derives primarily from the period in American music when guitars were the dominant instrument.

Having said that, I am immediately contradicted by This Nearly Was Mine. This is the most spectacular feature for Dave's guitar in the collection, and it's also the most traditional pop standard here. So even though the This Nearly smashes my theory to bits, I can't complain, since it's the loveliest and most creative ballad here. It may be a traditional show tune, but the interpretation is anything but conventional; this is the number one baritone "aria" from Rodgers & Hammerstein's most baritone-driven show,South Pacific, and even though there have been very different interpretations (like Bobby Darin's swing treatment), it's almost always presented as biggerthan- life and full of machismo. This Nearly takes the form of a soliloquy in the show, but leading men always sing it as if they're projecting to the balcony. Rondi's is the most intimate treatment I've ever heard; for the first time the song seems completely innerdirected and reflective, as if she were in a conversation with herself.

The only other song by a pair of canonical Broadway composers (although it's actually from the 1941 film Dancing on a Dime) is Frank Loesser and Burton Lane's jazz standard I Hear Music. Even more than on This Nearly, this oldest song here gets the most imaginative, even far-out treatment. While singing all the correct words and maintaining the fundamental shape of the melody, Rondi is infinitely playful as she fragments the tune, deconstructs it and reconstructs it in her own image, all the while going back and forth with bassist James Genus and drummer Clarence Penn. The remarkable thing is that Penn is such a melodic player that when he responds to Rondi's charges you almost think you're listening to a second bassist rather than a drummer.

Please Send Me Someone to Love was first heard in 1950 but foreshadows so much pop music of the Motown and Stax era that few realize it's actually 60 years old; Percy Mayfield was truly the grandfather of Soul. It's usually performed big and churchy and slow as molasses, but Rondi puts a gentle but urgent beat behind it (courtesy of Mayra Casales's congas) and makes the whole thing rock.

Every other song here is either from a more recent era or brand spanking new – for instance, the two Brazilian numbers. Milton Nascimento's recordings of his own songs are often rather aggressive. Rondi takes Tudo Que Você Podia Ser — translation, Everything That You Were Meant To Be (from the 1972Clube Da Esquina, and heard here with a new English lyric) — and makes it considerably more lyrical; in fact, she makes it sound rather like a Jobim tune. Jobim's own Wave is also completely transformed, which is entirely welcome. Arrangers and singers often seem daunted by Carlos Antonio, and there's less of a history of doing way out and interesting things with his music. Undaunted, Charleston and Stryker outfit Wave with an African-style chorale and percussion that make it sound rather Lion King. (It's also a logical outgrowth of Telescope on In My Life.)

There are three excellent songs from singer-songwriters of recent decades (more recent than 1941 at least). Rondi loved Judy Collins's famous version of Who Knows Where the Time Goes by the late Sandy Denny. It's always been a beautiful song, but Rondi and Dave make it even more special. The background is primarily guitar, which keeps it true to its folk-pop origins, but they've dressed it with some lovely new harmonies that make the melody more attractive than ever – it's a folk song that would now be at home at Birdland. Rondi's interpretation is singularly personal. The 1985Overjoyed is one of those Stevie Wonder songs that had a profound influence on the jazz world, and it inspires pianist Brandon McCune's most notable solo of the album and a characteristically warm and joyous vocal from Rondi.

Bobby McFerrin is a musician whose artistry goes so far beyond conventional categories that one hesitates even to label him a "singer" or a "songwriter." Freedom is a Voice(from the 1996 Bang! Zoom!) already had a suggestion of African feeling to it, which Rondi enhances considerably by adding a chorus of three girls singing in the Zulu language. Mr. McFerrin would appreciate the multi-cultural ramifications; considering that his father was a famous baritone who sang Rigoletto at the Metropolitan Opera, it seems perfectly logical that a Chicago-reared jazz singer descended from Norwegian immigrants would sing a McFerrin composition in a Zulu setting.

One of the voices heard on Freedom is that of Rondi's ten-year-old daughter, Emma. Family is also at the heart of Rondi's Your Spirit Lingers, in which she reflects on her immigrant forebears, specifically her great grandmother, Indiana, who crossed not only the ocean but also the plains (via "sailing ship" and "caravan") to reach the Midwest. It's the pioneering spirit that lingers, passed from generation to generation, down to Rondi's own child. Dance of Time talks about family in the sense that it describes a couple who are in it for the long haul, who "breathe together" – their "souls are intertwined." It was written to help celebrate the 50th anniversary of a pair of friends, but it could be about any two people, young or old, who are either preparing to go the distance or are already doing it. Coincidentally, the relationship between Rondi and pianist Lynne Arriale, who composed the music for the four original songs here and plays on them, is also one that seems destined to last.

I listened to this collection of songs out of sequence, but I don't think that there was any doubt in anyone's mind that Song for the Ages had to be near the end. Rondi is talking about the major political event of the year 2008, something that none of us thought we would ever live to see in our lifetimes. I applaud Rondi for resisting what must have been the obvious temptation to get all anthemic on us, to belt it with a big choir and a lot of drama. Instead, she keeps it simple and from the heart, with an infectious sense of optimism and wonder. Some things are even more of a miracle than a snowstorm in the desert.

Rondi Charleston is an outstanding contemporary jazz singer and an even better songwriter. In Who Knows Where The Time Goes, Rondi has combined traditional standards, originals, and thoughtful treatments of a wide range of material, and created one of the better vocal albums you're likely to hear right now.

ARTIST 'S NOTES

Time. We all want more of it, but always seem to have less of it. Who hasn't wished for the power to stretch and hold time, to be able to savor a special or sacred moment just a bit longer — to feel passion for art or music or for another human being that makes time expand like elastic?

The songs I've chosen for this album all reflect an aspect of time — moments worth capturing, remembering and re-living. Land of Galilee is the story of a magical day in war torn Jerusalem. I Hear Music is the sheer joy of making music. Overjoyed and Wave capture moments of romantic ecstasy. Dance of Time is about making love last over time (inspired by my long-married elderly neighbors in Westport) and Your Spirit Lingers is the voice of my great-grandmother, Indiana, echoing through time and space through her writing.

The intention of the title track, Who Knows Where the Time Goes, is to give the impression of time standing still, even as it marches on. I loved the Judy Collins version of this tune in high school, and it brings back potent memories for me about youth, friendship and steadfast love.

All of which brings me to the time spent working on this music with the incredible people involved in this project who made it so worthwhile and special: I must start with my pianist and writing partner, Lynne Arriale — a visionary artist with a gift for melody that is rare indeed in this world. It is nothing short of pure joy working with you. A huge heartfelt thanks to Dave Stryker, for your brilliant and creative treasure trove of musical ideas and arrangements! More to come! Clarence Penn, for your deep listening, rhythmic sensitivity, and valued friendship. James Genus — for your invaluable contributions and for sharing your profound musical gifts. Mayra Casales — for your magical percussive contributions and fiery spirit! Brandon McCune — for your incredible musical virtuosity, flexibility and ability to shine in any style or situation!

Most of all, I must thank my incredible manager and producer, Suzi Reynolds, for tirelessly championing this music. Your vision and insight are unparalleled in this business and I am eternally grateful for your input and energy.

Jana Herzen — for creating and nurturing such a special label and bringing me into the Motéma family!

Laura Joy and Amy Mitten — for all the months, weeks, days and hours of time you have put into this project — I could not do it without you!

Dae Bennett — thank you for your great ears and the integrity and honesty of your work. You are a rare find in this world — the real deal. Steve and Emma — you two are the loves of my life and the wind in my sails!

And to YOU our listeners — thank you for your support and encouragement and for continuing to look for us online and in clubs, festivals and concerts around the world. Reach out to me via rondicharleston.com., Facebook and Twitter. I'd love to hear from you and promise to stay in touch.

Love Always,

Special Thanks To:
Keith Ghion & Dan Strader at Geodescic Management, Brian Lovely, Richard Cooley, William Hohauser & crew, Andrew Lepley, Michael Ross, Jenn Bond, Ruth Moe and the entire staff at the Westport Country Playhouse, Laura Nelson, Patrick Paris, Will Friedwald, Patti Conte, Ron Shapiro, Melani Rogers and Amanda Charney at Plan A Media and Jason Byrne of Red Cat Publicity, Neal Sapper & Matt Hughes of New World 'n Jazz, Melissa Makris, Stephen Allen, Esq., Talcott Camp, Rufus Reid, David Pearl, Todd Barkan, Roland Chassagne and the entire staff at Dizzy's Club Coca-Cola.