Country of origin:
Type of music generally:
Most recent release, Easter (EP, 2020)
Good voice, heart-felt songwriting and solid musicianship, all adding up to a package that is certainly enjoyable but in my opinion lacks that certain something to really make it stand out from the crowd. (email@example.com)
Comments about live performance:
I saw her in New Mexico last year and was decidedly unimpressed. I'm usually willing to give people the benefit of the doubt and buy a cd if there is just a little bit that catches my fancy, but I found her songs to be pleasant but not particularly interesting. I didn't hear anything that inspired me to even consider the album. Am I missing something? (1/00, neal
Recommended first album:
1995—Box 'O Beanies
See Jill Cohn's site
Recommended for fans, or for those who like soft pop
Jill Cohn—piano, vocal, loop, synth, percussion
Tracks produced by various people: Andrew Bush, Dave Bassett, Jill Cohn, David Eaton
Nowhere near as focused or polished as most of the material on the absence of Moving. I recommend going for that one first and getting this one if you really like her and want to hear earlier work. (Neile)
1999—Boxobeanies Music, 10002 Aurora Ave. N. #1135, Seattle, WA 98133, U.S.A.—JC04
See Jill Cohn's site
Recommended for fans of the lighter side of Ecto
Jill Cohn—piano, keyboard, background vocals, additional acoustic guitar
Dennis Staskowski—acoustic bass
When Neal Stephenson takes a swipe in his Cryptonomicon at "American women singer-songwriters of the offbeat, misunderstood, highly intelligent but intensely emotional school, getting rich selling music to consumers who understand what it's like not to be understood" he could well be talking about Jill Cohn—except for that getting rich part. But there is no reason why recognition shouldn't follow in due course. After all, Jill occupies the same territory as Sarah McLachlan, Paula Cole, or Heather Nova (in her Oyster/Siren days anyway). In fact in her vocal manner she is a dead ringer for Sarah and/or Tara MacLean as well. As for her songwriting, while fairly conventional it often has a personal and honest ring to it. the absence of Moving is her fourth record, and apparently her previous ones were more heavily piano based, while this one has fuller, more band-like sound. I don't know those other CDs, and I wonder if I should look for them, because my favourite moments so far are not those with the band in full flight but the stripped-down ones, those with most space between the notes: "Louisiana lover" with its funky bass line, and sad, lovely "wind chimes".
See Jill Cohn's site
Jill Cohn—vocals, backing vocals, acoustic guitar, high-strung acoustic guitar, Rhodes, glockenspiel, keys, loops
Dave Sampson—baritone guitar (1, 2); lead guitar (2); 12-string guitar (2, 10); electric guitar (3, 4, 6, 10); slide guitar (3), high-strung slide guitar (8); ebow (10); dobrow (11)
Jill Cohn and Martin Feveyear
This is soft but not too soft music that is gorgeously wrought. Cohn has a lovely voice and puts it to good use on this album. The sound is smooth and the songs strong enough to warrant interest. "West from Carolina" is a beautiful song, Cohn's voice at its finest and a strong tune to support it. "John Denver's Ghost" is a heartfelt tribute with a countrified sound that works well. "Story of love" closes the album on a good note, a hopeful song with a gorgeous vocal. It's a fine album. (firstname.lastname@example.org)
Thanks to Andrew Fries and Anna Maria Stjärnell for work on this entry.
DISCLAIMER: Comments and reviews in the Ectophiles' Guide are excerpted from the ecto mailing list or volunteered by members of the list. They are the opinions of music enthusiasts, not professional music critics.
|Entry last updated 2022-01-20 17:42:35.
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