“A delightful vocalist, very refreshing and straightforward. Good stuff and
swingin' too.”
David Jaye....DJ Jazzin' Around
“A voice that needs to be heard.”......Eric Cohen....Music Director WAER JAZZ
88
Syracuse NY
“The disc (Night and Day) is solid and great for airplay”...Russell Haines
Jazz/World Music Director
WWSP 90fm
Stevens Point, WI.
“Singer Patrick Arena keeps offering impressive reasons why he should be more
appreciated. "Night and Day" is a strong offering of songs ranging from the Cole
Porter title classic to originals such as his "Belvedere." Whether he is working his
way through a ballad or swinging along in "How Could I Not Love You?," Arena
is convincing with his gentle baritone. He does a duet version of "What Are You
Doing the Rest of Your Life?" with guitarist-produce Mark Lucas that is close to
definitive for that song. The album also is a good reflection of the regional jazz
scene, featuring pianist Skip Peck, drummer Alex Peck, and bassist Tony
DePaolis. In addition, it was recorded in the Aspinwall studio of George Heid.”
Tribune Review-- Bob Karlovits
“Patrick Arena is a jazz vocalist from Pittsburgh, Pennsylvania whose new
self-released album is a mix of self-penned originals and covers, both classic and
less well-known. From the opening Brazilian-flavored title track, a tender
rendition of the Cole Porter classic, to gorgeous Arena-originals like the
undulating "How Could I Not Love You" and cheeky "Barefoot Boy," with which
Arena clearly has a good time, the album is a jazz lover's delight. Other notable
standards include "I'm Always Drunk In San Francisco," "It's A Most Unusual
Day," and the poignant album-closing "What Are you Doing The
Rest Of Your Life," while Arena's own "Belvedere" and "Where Have You Been
All My Life" are also lovely. Though it's a little late for Valentine's Day, this is
suitable mood music for any romantic occasion, or just when you want to relax.
Check out Patrick's website and learn a little about him; you can buy his music via
or via cdbaby.com/arena3”
Stereo-Homo-Margaret Coble
"Night and Day," produced by guitarist Mark Lucas, provides an exciting mix of
originals and standards. Featuring pianist Skip Peck, drummer Alex Peck and
bassistTony DePaolis, Arena seamlessly juxtaposed "Night and Day," a song
written by Cole Porter, with "Temptation," a tune he dedicates to flamboyant torch
singer Phat Man Dee. Unlike many traditional approaches to the song Night and
Day, Arena adds an a cappella introduction before being accompanied by Lucas'
tender guitar lines. Night and Day is a recording that already has his fans'
attention. It's a wonderful document from an artist who is both personable and
expressive.
Pittsburgh Post Gazette...Nate Guidry
On his new CD, Night and Day, Patrick Arena divides his time, like night and
day, between standards and originals. His stripped-down interpretation of the Cole
Porter title tune makes it sound like a jazz lullaby. Arena has a good time with
“I'm Always Drunk in San Francisco” and gets the appropriate emotional mileage
out of “What Are You Doing the Rest of Your Life?” Arena gives Biello &
Martin's “In My Body” a jazzy polish, and when it comes to his own
compositions, “Barefoot Boy,” “Belvedere,” and“Where Have You Been All My
Life?” are worth a listen.
Chicago Free Press, Bay Area Reporter, OutSmart Magazine Houston....Greg
Shapiro
“Patrick Arena’s voice just melts into the guitar and I think I've gone to heaven
when I listen to this CD!! I especially love his original composition "How Could I
Not Love You". How Could I not love this CD!”
Rosemary Loar...Symphony Space Songwriters Series
On his new CD, “Night and Day” (patrickarenamusic.com), Patrick Arena divides
his time, like night and day, between standards and originals. His stripped-down
interpretation of the Cole Porter title tune makes its sound like a jazz lullaby. He
has a good time with “I’m Always Drunk in San Francisco” and gets the
appropriate emotional mileage out of “What Are You Doing The Rest of Your
Life.” Arena gives Biello & Martin’s “In My Body” a jazzy polish, and when it
comes to his own compositions, “Barefoot Boy,” “Belvedere” and “Where Have
You Been All My Life?” are worth a listen.
Gregg Shapiro - Chicago Free Press/Bay Area Reporter (Jan 9, 2008)
Music Preview: Patrick Arena offers new mix of time-tested songs
Thursday, February 14, 2008
By Nate Guidry, Pittsburgh Post-Gazette
Patrick Arena counts among his influences Ella Fitzgerald, Glenn Miller and Stan
Kenton.Patrick Arena is just a "Barefoot Boy" enjoying his joy.
Well, not really.
But "Barefoot Boy," the title of a song featured on his latest recording, "Night and
Day," is a swinging tune most people can identify with.
"I got no need for no toy," he sings to swinging accompaniment. "I'm just a
barefoot boy inclined to dance and roll up my pants."
"That song is my theme song in a way," said Arena from his home in Washington,
Pa. "It's the first song I ever wrote. I play it at my gigs and people know it."
"Barefoot Boy" was written more than 20 years ago. Arena previously recorded it
on "Captured Alive," but felt it was time to do a studio version.
"Usually, it's the other way around," he said with a huge chuckle. "Usually, you
record a studio version before you do a live one."
"Night and Day," produced by guitarist Mark Lucas, provides an exciting mix of
originals and standards. Featuring pianist Skip Peck, drummer Alex Peck and
bassist Tony DePaolis, Arena seamlessly juxtaposed "Night and Day," a song
written by Cole Porter, with "Temptation," a tune he dedicates to flamboyant torch
singer Phat Man Dee.
Except for the title track, most of the songs have been time-tested.
"I've performed all of the songs many times over the years," he continued. "But
'Night and Day' was not a song I had ever performed. I knew it and I suppose I had
sung it in the showers."
Unlike many traditional approaches to the song, Arena adds an a cappella
introduction before being accompanied by Lucas' tender guitar lines.
Arena grew up in Washington listening to the music of Ella Fitzgerald, Glenn
Miller, Stan Kenton and others. "I heard all these great people early on and that's
what I love," he said.
As a kid, he was a tap dancer in a troupe that regularly performed in Atlantic City.
"We danced there every summer and eventually I became a featured dancer,"
recalled Arena.
He continued to perform in the troupe while singing in a wedding band.
"We played society music mostly," he said. "It was society and country music. It
was a job and I was working."
After completing high school, he studied classical voice for three years at
Duquesne University. Afterward, he moved to New York to pursue a career in
musical theater. Soon, he realized that culture wasn't for him.
"I just didn't like the theater and the theater people," he said. "I also didn't like
being at auditions where there were 300 people in line. I made the choice to just
sing and study more."
Arena studied privately with Abbey Lincoln and Dakota Staton and performed a
great deal with pianist Fred Hersch.
"It was really great working with Fred because he's such a great accompanist,"
recalled Arena.
During this time, Arena also began writing songs. In 1999, he made his debut
recording with pianist Andy Monroe on "Night Cap." A year later, he moved back
to Washington to take care of his ailing father. He continued to teach and perform
in the Pittsburgh area and in 2004, recorded "Captured Alive."
Now, he's focusing on "Night and Day," a recording that already has his fans'
attention. It's a wonderful document from an artist who is both personable and
expressive.
-------------------------------------------------------------------------------------
Patrick Arena: "Night and Day": A Review
"Night and Day" is the title track and the first song on Pittsburgh singer/songwriter
Patrick Arena's incandescent third album. "Night and Day", the song, was one of
composer Cole Porter's most emblematic creations. The original version of the oft-redone
standard was written for the 1932 musical "Gay Divorce", and it became a number one
song for Frank Sinatra in 1943. Opining on the song's enduring popularity to this day,
Arena has stated his belief that "Night and Day" was "perhaps Porter's most perfect and
beautiful song." Arena's 2008 version, not to be outdone, makes quite an impression: It
opens with only Patrick's voice suspended in a haunting, almost otherworldly aura.
Slowly, a few beats make their way in, and as the listener is seduced, the song slowly
turns from ethereal to feverishly romantic, with Mr. Arena demonstrating his entire vocal
range-- or so we think. It's actually just the beginning! Porter's music may have been a
fertile source of inspiration for Patrick Arena, but there's no denying that this artist, via
his passionate interpretations, draws an even deeper meaning and new dimensions from
the original song.
Throughout "Night and Day" the album, Arena does this not just with the title track,
but with some well-chosen classics begging to be heard again, such as "I'm Always Drunk
in San Francisco" and "It's a Most Unusual Day". His original songs are jazz classics
destined to be discovered. "Barefoot Boy" is an example of that. Arena gives us a playful
delivery and lyrics to match: "I'm just a barefoot boy enjoyin' my joy...". Patently as
boyish and impish as the title suggests, it's no more and no less than a pure jazz joy.
His repertoire of songs aside, Arena's greatest asset is, hands down, his voice. Patrick's
‘voix naturelle’ runs on the deeper end of the spectrum, but his ultimate range appears to
be endless. His delivery, as we learn throughout the album, never wavers or hesitates for a
second. It's strong and grounded but as versatile as any of Arena's well-renowned male
jazz vocalist peers-- with a seemingly innate, unique shade of soul.
Arena's "How Could I Not Love You", the second track, boasts a tropical-flavored jazz
sound. It's romantic, yet like "Barefoot Boy" which follows, there's a playful feel-- largely
due to the song's buoyant rhythm. "Moonlight", written by late singer/songwriter (and
Arena's friend) Tom Briggs, features a sparse, almost minimalist musical composition,
although the richness in Arena's performance is anything but minimal. Although a somber
tone predominates throughout this ballad, there's actually a very palpable musical silver
lining of hope running through. Infinite meanings can be interpreted. Next up is Arena's
piano-driven, old-school jazz take on "It's A Most Unusual Day", written by Harold
Adamson and Jimmy McHugh. It's a prime example of how simple lyrics and a simple
message can make for an extraordinary feeling-- but only when they are in the hands of an
accomplished artist.
Next up is another gem on the album: "In My Body". The truly one-of-a-kind song was
written by Dan Martin and Michael Biello. It's a joyous, upbeat celebration of reaching
the goal of loving and accepting oneself body and soul-- which, for many, is often a
decades-belated victory. The lyrics, which are heavily spiritual, are inspiring; and the
song is ripe with metaphysical undertones that stay with the listener long after the song is
over. "In My Body" is a well-chosen song for Arena, as it can only be sung by an artist
who believes every lyric. The ending is no less than stunning.
For "Belvedere", written by Arena, the singer adopts a rather operatic tone as he
croons, "Belvedere-- heal me, shield me from harm; Feel the sea cast a mid-summer
charm...". He portrays the titular landmark on New York's Fire Island as a home away
from home. Indeed, the Belvedere-- a gated guest house on the water with a classic
Venetian sense of decor-- is indeed a true getaway on Fire Island, which is already is a
getaway from civilization itself.
Arena also pays homage to San Francisco (a city which has been such a prolific source
of inspiration for songwriters and other artists for decades), although in a very-- shall we
say, "different" way, musically, than "Belvedere". For his take on the Tommy Wolf
favorite "I'm Always Drunk in San Francisco", Arena vividly translates the intoxicating
joy of being in the City by the Bay to music. For the first time on the album, the artist
shows more than a fair amount of abandon as he clearly enjoys himself singing, "I'm
always drunk in San Francisco, I'm never feeling any pain. "
Where Have You Been All My Life", written by Arena and Michael Sandwick,
combines the simultaneous thrills of puppy love in the afternoon and bedroom-eyed
romanticism at night. Patrick's reliable vox (He expertly incorporates his own voice for
background vocals as well!), the samba/jazz rhythm, and priceless piano work by Skip
Peck make this song yet another high point on the album. For a conclusion, Arena ends
with a bona fide showcase for his voice, the Alan & Marilyn Bergman/Michel Legrand
song "What Are You Doing the Rest of Your Life". Like "Night and Day", this classic has
been redone many times through the years. Arena, through his delicately romantic
interpretation, not only shows the classic the respect it has earned, but makes the song his
own-- particularly with his impressive finale.
Every song on "Night and Day" is a bona fide performance, with its own history,
climax, and message to its listener. Throughout the album, Arena's voice again and again
demonstrates the singer's unyielding skill and discipline, yet his delivery is always
seemingly effortless and as smooth as burgundy-colored satin. After listening to "Night
and Day", the CD's cover design seemed very appropriate; Like the background for the
photos, the CD on the inside is a true, one-of-a-kind work of art itself.
Jed Ryan, PM Entertainment Magazine
Winner, Reviewer of the Year, Stonewall Society 2005 Pride in the Arts Awards
------------------------------------------------------------------------------------------------
CD Review "Night and Day"
Artist:
Review By: Len Rogers
A mix of original Arena tunes and some classics, complete the bill of fare for Patrick
Arena's latest release, "Night and Day". Always a pleaser for jazz aficionados, Patrick
Arena deepens his musical spell with a strong sense of humor and true homage to the art.
Arena's bold ability to utilize his identifiable vocal talents as one of the instruments, is a
jazz standard and a most pleasant surprise. Not with excessive scat singing, but to
actually sing the lyrics with such feeling that the vocals are one with the instrumentation.
Something not always seen in today's jazz recordings. And one main reason this jazz
lover is a huge fan.
From the opening Porter classic and title track, "Night and Day" Arena's vocals carry you
through the entire CD, much like a musical flying carpet. Never to be deposited harshly or
left in mid air. Patrick completes his mission with style and expertise. Although his
delivery seems effortless and he makes it sound so easy. The real mark of excellence.
Tempos and themes alter from track to track. As between the aforementioned "Night and
Day" and the second track an Arena original, "How Could I Not Love You". The
consistency of Patrick's vocal skills gently deposit your ear to the next treat. No stark or
jolting musical changes to wake you from the experience. And that in itself is a huge part
of the Arena charm and skill, one which always brings me back for more.
Song eight, "I'm Always Drunk In San Francisco" is a bright example of how Patrick
instills his genius into the musical experience. You can hear a slight teetering in Arena's
voice, but that adds to the overall experience. In some cases this would take away from
the vocal charm and place heavy emphasis on the comedy of the number. But not with
Patrick Arena. He delivers like a French Quarter master. Creating not only a fun musical
treat, the feel of intoxication is there. But not stumbling falling down type, more like the
intoxicating scents of the French Quarter. There, but adding to the overall experience,
never taking anything away. "Night and Day" is a must have for any real jazz collector.
Unique, skilled, and full-flavored! Just the way Arena delivers and the way I like it!
Check out for information and to get your copy of Patrick's music!!!!
----------------------------------------------------------------------------------
Singer Patrick Arena has had plenty of gigs during New York nights. Now back among
us, the Washington, Pa native also has some during the days, teaching other people to
sing. But he’s still out front and center in local spotlights. Once he shared the stage with
such remarkable, stylistically diverse jazz artists as Abby Lincoln, Barry Harris and Fred
Hersch. Plus he studied with famed bluesy Hill District-born Dakota Staton. Among his
numersous contacts, Hersch seems to be the biggest influnce for this CD, ‘Night and
Day,’ Arena’s third.
In gentle, delicate vocalizing his rather light voice serves ballads best. He also shows
creative imagination by occasionally overdubbing his own vocal back-up. Here he
explores just a few well-known songs along with four of his own rather appealing ones.
Clearly too, he favors bossa-nova rhythms, subtly swaying from time to time. Bloomfield
guitarist Mark Lucas, who also produced adds his own tastefulness in a few solos. And
from across the border, in another steel town, Weirton W.Va., skilled pianist Skip Peck
contributes further satisfactions. Don’t let the title mislead you into expecting major
contrasts; rather, expect a sincere, twilight glow.
Gordon Spencer Pittsburgh Magazine May 2008
- various sources Night and Day (Apr 20, 2008)