Press Kit

Links to Reviews

Press Quotes

I….knew from the opening track that Silver was something special. Indeed, if a name ever fit a performer it is Silver’s, for her voice is like pure sterling. Her phrasing is exquisite, her clarity and enunciation on par with the great Jo Stafford and her breath control – a talent so often, and so wrongfully, overlooked – rivals Sinatra’s.

Christopher Loudon, JazzTimes

Silver amazing, glimmering tone shines all throughout…her delivery is beautiful and sensitive….Silver proves she has the talent to be included among today's best jazz female singers.

Wilbert Sostre, All About Jazz

Silver’s luminous voice quality has ecstasy within its reach as she turns on the tap of profound vocal beauty. By now it becomes patently obvious that we are being confronted by a star of immense brightness.

Raul da Gama, Jazz Sensibilities

…Not since Karen Carpenter have I heard such a strong alto voice that is so pure and so convincing…

Geannine Reid, JazzTimes

…a singer with a great voice, add…some originals with depth alongside some covers that can be delivered properly and viola, a killer jazz/cabaret record….An utterly gorgeous date…

Chris Spector, Midwest Record

The highlight from their sets…was Silver’s captivating interpretation of ‘The Meaning of the Blues.'

Ken Franckling, JazzTimes

Her voice rings true, with lovely tone and fine diction.  She seems to pick the right tempo for each song she chooses.  The ballads…they move!  And most of all, when there is a tempo, she swings!!!  I dug it.  You’ll dig it too.

Bob Dorough

[Audrey’s] alto is pure and persuading, her clarity, enunciation and breath control, astonishing.

New York City Jazz Record

Audrey Silver’s voice is exquisite. Warm and inviting, pairing a velvet-laden timbre with impeccable phrasing, Audrey’s vocal technique is a case study in making extraordinary artistry seem effortless.

Seton Hawkins, Hot House Jazz

Silver engrosses with her tales….Taking into account [her two prior] CDs….it would seem Audrey Silver just gets more in tune with herself and in turn the rewards for the listener increase. Talent worthy of being picked up by a major label.

Robert Rusch, Cadence Jazz Magazine

There's immediate comfort in encountering Audrey Silver's music for the first time. Her voice is an open invitation, an instrument of confession and creation that immediately transports you to someplace else. That's evident from her first utterances through her last words on Very Early.

Dan Bilawsky, All About Jazz

Bristling with beauty and panache…. her voice is instantaneously engaging, warming, and leaves you feeling like the tune just hit the sweet spot…Audrey Silver is the preeminent jazz vocalist of this era. She’s got the goods, and she knows how to deliver!

Constance Tucker, All About Vocals

Every song on [Very Early] is a highlight… I really enjoyed this album.

Michael Bourne, WBGO Singers Unlimited Show

Audrey Silver has that rare quality of light infectious swing that lights up her tall willowy persona.

Mark Murphy

Songwriting Quotes

While originals often play as substandard filler that sits between the welcome and familiar fare on vocal jazz albums, that couldn't be further from the truth here. …. [These songs] stand on equal footing with pure jazz expressions like Bill Evans's "Very Early”…

Dan Bilawsky, All About Jazz

Silver’s songs feature sophisticated lyrics which reveal a mature attitude towards love and romance, coupled with attractive melodies and interesting harmony.

Tom Cuniffe, Jazz History Online

…splendidly sung by the charismatic singer whose lyric poetry is reminiscent of Joni Mitchell’s.

Raul da Gama, Jazz Sensibilities

What is so profound about this offering is the extremely well-chosen and not oft covered chestnuts she has unearthed along with a dapple of Silver originals.  One that struck me so profoundly was “The Cold Wind’s Embrace,” a supple, tune that…. is simply stated, stunning.  The lyrics are written in a jazz standard style, and I did have to look twice to see if it was a standard I had missed, and to my delight indeed it was a Silver original (lyrics: Silver, music: Silver and  Gagne.  What a delightfully uplifting treat to the cold winter days ahead.

Constance Tucker, All About Vocals


With a growing catalog of outstanding recordings and a warm, swinging performing style, Audrey Silver is one of the most elegantly creative singers in jazz today. Known for what Hot House Jazz has called “extraordinary artistry” and “a velvet-laden timbre with impeccable phrasing,” Audrey has more recently become known for her compelling takes on well-known pop tunes and her own poignant originals. 

Her latest recording project and her fourth album, Let Me Know Your Heart, was released in early September 2019.  The album features a remarkable group of musicians including Bruce Barth on piano, trumpeter Marcus Printup, upright bassist Paul Beaudry, drummer Anthony Pinciotti, Tom Beckham on vibes and guitarist Gary Ciprut. The album is centered artistically and emotionally on Audrey’s six newly-penned original songs (out of fourteen total tracks). 

Let Me Know Your Heart’s title song, written by Audrey, has the flavor of an Irish jig and features her singing and also playing the Native American flute.  It also features Audrey’s renditions of Abbey Lincoln’s “Up Jumped Spring,” Irving Berlin’s “How Deep is the Ocean,” and Peter Gabriel’s “Solsbury Hill.” It also includes a French song, "Plus Je T’Embrasse” by Max Francois and Ben Ryan.  Altogether the album is a wonderful example of Audrey’s superb ability to set a compelling scene in song. 

Audrey’s previous recording project, Very Early, was released in October 2016.  Included in the stellar line-up is Barth and the highly respected drummer Lewis Nash. Creatively arranged by singer, composer, and Berklee professor Steven Santoro, the album bravely stretches across the spectrum from the cherished show tune-turned-jazz-standard, “Surrey with the Fringe on Top,” to the late Mose Allison’s “What’s with You,” to several of Audrey’s own compositions including “The Cold Wind’s Embrace,” and “When the World Was New.”  Very Early also includes the French song, Jardin D’Hiver by K. A. Zeidel and B. Biolay. 

Born and raised in New York City, Audrey graduated from Brown University, where she founded The Higher Keys, the school’s first a capella singing group. After stints working in marketing for CBS Masterworks (now Sony Classical) and Chesky Records, Audrey returned to school and earned an MBA from Columbia University Business School. 

Audrey began her singing career in earnest in 1998 when she teamed with Jon Raney, son of pianist Jimmy Raney and produced her first demo with the help of Ronnie Zito (Woody Herman, Bobby Darin) and Jay Leonhart (Judy Garland, Tony Bennett). 

In the meantime, she honed her craft through private study with singers Shelia Jordan and Mark Murphy, that latter who eloquently described her voice as having “that rare quality of light infectious swing that lights up her tall willowy persona.” Audrey has built a respected and successful career by performing at an array of New York’s best-known jazz clubs and music venues including Zinc Bar, Jazz at Kitano, 55 Bar, & the Cornelia Street Cafe. Nationally, Audrey performed at large festivals and venues around the country including the Tanglewood Jazz Festival and the JVC Jazz Festival. She was a semi-finalist in the 2016 edition of the international Songwriting Competition. 

Along with Let Me Know Your Heart and Very Early, Audrey has released two additional albums through her production company Messy House Productions: Here In My Arms and Dream Awhile. 

Receiving high praise from the jazz press, noted that “Her clarity and enunciation is on par with the great Jo Stafford and her breath control— a talent so often, and so wrongfully, overlooked— rivals Sinatra’s.”  The same website reinforced a comparison she has heard numerous: “Not since Karen Carpenter have I heard such a strong alto voice that is so pure and so convincing.” 

Audrey commented about songwriting and what started her down this path.  “When my son was four and going through an obsessive boat phase, he said, 'Mommy write me a song about boats.' It took me about five minutes to write, 'Farewell to The Harbor’.  The song was a simple blues tune with a bridge, but it turned out that the song actually includes a poignant metaphor about a child separating from the safety of its parents. That was when I first realized that I might actually be able to do this.  Songwriting begins with tapping into what is in your heart and adding a melody to it.  I’m a storyteller at heart but I feel different about the way stories are told than I used to. I feel like it’s much more of an emotional than verbal story at this point.” 

Crediting musical luminaries as diverse as Bill Evans, Annie Lennox and Arnold Schoenberg as influences on her artistry, Audrey has found new challenges and satisfaction in becoming a songwriter and looks forward to sharing more of her music with her audiences in the coming years.