BY JIM DeROGATIS Pop Music Critic
A veteran of the Second City Touring Company, suburban Chicago native Denise La Grassa made her mark in that talented troupe with a bit called "Make-A-Song," writing and performing tunes on the spot based on any topic the audience shouted out. That loose, carefree and immediate vibe still permeates her third album, the recent DIY release "April Dreams," but don't let it fool you into thinking the music is tossed-off.
With an impressive but never showy range and a self-assured, conversational delivery that brings to mind a jazzier Aimee Mann, La Grassa offers uniquely personal and melodically powerful takes on romance in standout originals such as "Yesterday's Replay" and "Best Day," while local producer Matt Thompson (the Mighty Blue Kings, Frisbee) captures the spare but perfect accompaniment of a four-piece backing band.
La Grassa Brings Scope, Passion To Brilliant `Bite'
By Rick Kogan, Tribune Staff Writer.
http://articles.chicagotribune.com/1996-03-29/features/9603290050_1_sketches-show-character
The lumping together of the words performance and art is a common habit these days, an easy if often misguided attempt to label something that does not facilely fit a conventional category. Brilliantly unconventional, Denise La Grassa's one-woman show called "BITE" is performance and art.
It is exuberantly a performance, an hour and a few minutes of versatility in the form of sketches, songs, music (David Milney on saxophone and Eric Remschneider on cello), gifted physical comedy, pointed observation and humor. It is, with but one or two minor missteps, solidly art, an ambitious and thought-provoking show that takes a witty, with-it measure of this mad, mad world.
An eager and accessible stage presence, with her lithe body, expressive face and a wild red hair, La Grassa is poet-preacher-polemicist. And her show, playing once a week since the dark days of last December at the Bop Shop, is about a lot of things. Its foundation built primarily on large blocks of feminism, politics and religion, it is a show that expresses pain and anger but one that also has moments of delightful playfulness and encouraging humanity, spirituality and hope.
Alternately outraged and incredulous, the show takes apart the postures and pretensions of politicians in such sketches as "Senator Cramp" and "Mr. Mendacity"; skewers the news media in "Paxton Park" and the song "Electric Red"; and touches tender but terrifying truths of childhood "Hopscotch" and the devastating, almost surreal "Wouldn't Wanna Be in My Shoes," about an 11-year-old girl who is the mother of two children.
La Grassa's writing is always impassioned; the show contains moments of Swiftian satire, as when a character suggests a solution to the problem of homeless people: "Shrink them down and put them on the internet--Bye, Bye."
The show can be tough on members of the male species, as in the back-to-back sketches "Bachelor" and "Lonely Bachelor," with the title character "played" by a Teddy Bear. But, with equal-opportunity elan, this combo is followed by a take on female frivolousness, exemplified by a character ravenous for the issue of her "September Vogue," because she "can't go on living and not looking right."
Seamlessly changing characters, La Grassa delivers her word-rich sketches with rapid-fire urgency. It is a virtuoso performance from a grand talent.
As with all small-room one-person-show ventures, it is easy to underestimate, or even ignore, the contributions of others. But director Alexia J. Paul has done a thoughtful job of orchestrating the actress, allowing sketches to flow intelligently; the lighting design by Patrick Hudson is dramatic. The music is perfectly polished. And it all comes together beautifully in "BITE," which can be witnessed and savored and remembered for the ridiculously paltry price of $4--the best $4 you may ever spend.
 DENISE LA GRASSA—April Dreams (deelagee)
by Crispin Kott
http://www.newmoongames.org/roll/dec09/articles/cdreview.php
On Denise La Grassa’s first album in seven years, the singer-songwriter opts to open strong. When she sings “Get Home & Give Me Love,” whether one hears a demand or a plea, it’s hard to ignore.
La Grassa’s voice is all full of honey throughout, and smoky, too. On “Deep Down Love” she’s carried along on a sea of angelic harmonies, while on “Yesterday’s Replay,” which almost sounds like something heard during the romantic climax of a John Hughes teen romance film, she’s all on her own. And either way, it works.
April Dreams is mostly dynamic, but there are a few missteps. Even with the keyboards of Ben Lewis sending chills, “Sweet Talk” sounds like a clumsy Melissa Etheridge retread. But the album picks up steam again one song later with “Perfect Little Girl,” which builds into an anthemic cousin in theme and style to “She’s Leaving Home” by the Beatles.
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 April Dreams
Denise La Grassa | Self Published (2009)
By Matthew Warnock
April Dreams is a sultry album of original pop/jazz vocal compositions by Illinois-based singer Denise La Grassa. Featuring the solid rhythm-section work of guitarist Scott Tipping, bassist Matt Thompson, drummer Gerald Dowd and pianist Ben Lewis, the album is both tasteful and emotionally engaging. With catchy melodies, a strong ensemble performance and well-written lyrics, April Dreams weaves its way through the entire spectrum of modern pop/jazz in a highly entertaining fashion.
All of its songs were written by the multi-talented La Grassa and arranged by Matt Thompson, the ensemble's bassist. La Grassa's writing style is a direct reflection of the multitude of influences and inspirations that she draws upon as a performer. There are Beatles-esque numbers such as "Get Home & Give Me Love," deep-grooving bluesy numbers that would make Leonard Cohen proud such as "Deep Down Love," and emotional ballads including "String of a Kite," which features a softly spoken groove in five that accentuates La Grassa's smooth vocal line. Thompson's arrangements are firmly based in the American pop tradition with just enough jazz, blues and soul to keep things from becoming monotonous. His use of strings on "April Dreams" and the seldom-used baritone guitar on "Best Day" add just the right timbre, highlighting La Grassa's vocal ability without getting in the way or burying the melody line in a mountain of sound.
La Grassa's melodic interpretations bring an emotional connection to each lyric and melody line, while her ability to make large melodic leaps with ease—with spot-on intonation—provide for some very interesting melody lines, often more reminiscent of a saxophone or guitar than a vocalist. One reason why the album avoids any stagnation is La Grassa's constantly changing vocal tone and timbre: she moves between dark and sultry to light and breathy, and everything in between, with the greatest of ease and without sounding disjointed or unrelated.
April Dreams is entertaining on emotional and musical levels. The lyrics are masterfully crafted, the melodies sticky and the band tight. While the album is not going to fall into the modern or traditional jazz categories, the mixture of jazz, pop, blues and folk is a catalyst for highly creative and emotionally charged playing.
 April Dreams
Denise La Grassa | Self Published (2009)
By John Ziegler, Duluth News-Tribune
Denise LaGrassa is a Chicago-based singer, songwriter and keyboardist who makes her first visit, with her trio, to the Grand Marais Jazz Festival this weekend.
Her new release, “April Dreams,” showcases her sultry voice and her pithy compositional abilities. But, intriguingly, there was something in the mix — like a secret ingredient — that set her style apart from the many other jazzy song sorcerers out there, and it took me a while to put my finger on what it was.
She’s got a serendipitous pop flavor to the topics she chooses to flesh out. There’s a jazzy fragrance to her vocal phrasing, even though nothing on “April Dreams” would be considered jazz to a purist who favors Ella or Sassy (Sarah Vaughn). There’s a pungent soulfulness omnipresent … but there was just something that infects each song I couldn’t identify until it hit me: show tunes!
Denise LaGrassa’s new disc sounds like it could be the score to some impassioned new play on Broadway. I can almost visualize, in my mind’s eye, how the scenes would be blocked and lit on the musical theater stage.
“Get Home & Give Me Love” has a frothy sing-song style with prissy drums, vampy acoustic piano, snarky guitar and lyrics of fervent longing for her man who is needed … now. The theater production would be a vibrant mix of male and female dancers with arms and legs flying and bodies twirling.
“Deep Down Love” has this murky vibe that reminds me of the late bluesman John C. Campbell. There’s a veil-like shroud that the organ creates while the drums punctuate from below and the vocals flutter on top. This would feature black-clad dancers with cat-like moves gliding from side to side.
“Sweet Talk” has the rueful gypsy-rock feel of Sophie B. Hawkins complete with translucent lyrics that incisively describe the narrator’s feelings for a lover.
“Waited a Lifetime” has a devilishly angelic feel, with propulsive energy, guitar chordal punches and a quivering guitar solo that sounds as if it should be accompanied visually by a ’60s strobe light.
The vivacious “Looking for Love’s Sake” is a reminder not to take your significant other too lightly and points out the importance of loving for the correct reasons. It’s got a summery groove, wailin’ B-3 ride, tangy guitar and drums that pack a wallop.
With elegant musicianship, a batch of “love-gone-right” songs, her warm expressive pipes, butter-smooth arrangements and the feel of the theater always hovering, “April Dreams” is multidimensional.
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 By DANIELLE HATCH
Journal Star
Posted May 13, 2009 @ 07:09 PM
Denise La Grassa has always been a musician at heart, but there were times in her life when acting took center stage. The Chicago native - who spent time touring with "The Second City" - has appeared in numerous plays, portrayed a secretary on the HBO movie "Hometown Boy Makes Good" and has also snagged acting roles in "Unsolved Mysteries."
But two years ago she decided to move to Bloomington for love. And if that weren't terrific enough, her relocation brought her back in touch with something else dear to her heart: music.
La Grassa, who works as a producer for WILL-TV during the day, can often be found singing and playing jazz around central Illinois in the evenings.
She'll perform from 7:30 to 10:30 p.m. Saturday at Peoria Pizza Works, 3921 N. Prospect, Peoria Heights, to celebrate the release of "April Dreams," her third album, and first album release in seven years. The record is all about life in the heartland, from the beauty of the landscape to "waiting for love my whole life and finally finding it down here in the cornfields."
How do you like living in central Illinois?
I love it. Just prior to that I was all set to move to Manhattan, because that really seemed like the real place for me; there's a great performance art scene, and I was always embraced there. So I was going to move right before 9-11 and then something said, 'Nope, don't do that.' I'm glad I paid attention to that still-small voice. Because I love it out here.
What about central Illinois inspires you in your music?
Just being close to nature - hearing it, seeing it, the peacefulness of it all and the wide open spaces. There's just a feeling of mother earth, it centers you in a spiritual way.
Tell me about a song from your new CD that really captures the central Illinois feel.
"Best Day" - that has the flavor of the landscape, the cornfields, the farmland. And it has that "taking a chance" quality to it, sort of a restful exuberance. It feels like a rebirth - everything is alive and growing, spacious, beautiful, green.
You could have the best day or the worst day and you're getting through it. That's the point (of the song), is to embrace every day. You can go through the trouble of life and get through it. I think in a place like this, it sort of nurtures you, whereas the city can sort of toss you about a little bit. So you'll find clarity out here and get back on the horse again and ride.
Do you have a favorite place to play in central Illinois?
I sure enjoy Venue Art Gallery and Wine Social (in Washington), it's a nice listening room. It's really quite nice, because you have the visual art that impacts the music. I love the Rhythm Kitchen, too. They have an intimate style to the room, the ceilings are low and it just sort of focuses in on you right away. And they have a friendly staff, too.
Being a jazz artist, could you share an album that you find inspiring?
"A Love Supreme" by John Coltrane. It's the first thing that popped into my head because it has a circle of life feeling to it, the human experience. He was composing that piece closer to the end of his life, so I think he recognized that all of his music really came from love or from God. And that journey through life - of going through all that chaos and coming back to the real source, which is love.
You keep mentioning circles and journeys. Does this mirror where you're at in your life right now?
Yes. When I started as a kid, that's what I was doing - writing songs and poems, and what grew out of that is experiences in performing arts and acting, sort of a multi-dimensional talent. But now I'm back to where I began, writing songs.
And you started writing songs at a very young age - 5 or 6. Do you remember the first song you wrote?
It was probably something about spring - seasonal stuff, flowers or daffodils (laughs).
When did you realize that music meant a lot to you?
When my mom bought a piano for like $10 at a garage sale, because that was something I could pound out ideas on. Then there were recitals. . . . I took piano lessons in second or third grade.
What instruments do you play?
Just piano. Although when I was in band I would hop around the room and play all the instruments. I got in trouble for doing that. My best friend was in the flute section, I would just go and sit in the flute section. (The teacher) would just sort of put up with it for a while, then eventually I was sent to the principal's office (laughs). I said, 'I want to play all of these, I don't want to just play the drums.' I was in percussion, which actually served me well, because, really, jazz is all about the rhythm. You sing a song with the right notes, but it's really about how you take it and make it your own and it's all about changing up the rhythm.
Is this a talent that comes naturally to you?
Yes. I studied with William Russo (at Columbia College) when he was alive, and I was grateful to have him as a mentor, it really set me on that path. It was really when I was going in the acting direction and he said, 'You're a songwriter, you should be writing songs, you have a gift for melody.'
Sometimes people don't have confidence in their own abilities; it must have meant a lot to hear someone tell you that.
Oh, yes. And I had so much respect for him, because he was really tough on his students.
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