Anita Donndorff’s Thirsty Soul

Transcontinental Jazz Odyssey

Release Date: June 20, 2025
Label: Fresh Sound New Talent Records

We had the privilege of diving into Thirsty Soul before its official release, and it’s safe to say: this is a defining moment in Anita Donndorff’s evolving journey. The Argentina-born, New York-based Jazz vocalist brings together worlds with elegance, edge, and emotional depth on this richly layered album. Set for release on June 20 via Fresh Sound New Talent Records, Thirsty Soul is not an introduction—it’s a transcontinental jazz postcard from an artist who has already found her voice, and is now expanding her reach.

Recorded over two years in two cities, the album unfolds in two distinct yet complementary halves. Seven of the nine tracks were captured live in Buenos Aires at the iconic Estudios ION in 2022, featuring a ten-piece ensemble made up of some of Argentina’s finest players. The remaining two—”Charade” and “Ana Luiza”—were recorded in New York in 2024 as intimate duets with jazz guitar icon Peter Bernstein.

Opening with Intimacy and Flair

The album opens with “No Moon at All,” a rarely heard full version that includes the original verse. Donndorff’s delivery is breezy yet deliberate, her phrasing gliding effortlessly over a Latin-infused arrangement. Paul Sikivie’s bass anchors the groove with warmth and subtle propulsion, setting the tone for what’s to come.

“Charade,” the second track and one of the album’s clear highlights, is stripped-down, spacious, and spellbinding. Donndorff’s transparent vocal tone pairs exquisitely with Bernstein’s lush harmonic language. His guitar voicings provide a rich canvas for her storytelling, turning this Mancini standard into a film-noir vignette of its own.

Homages and Reinventions

The band swings hard on “Old Country,” a tune rooted in the hard bop era and famously interpreted by Nancy Wilson and Cannonball Adderley. Donndorff delivers the lyric with clarity and rhythmic poise, while the arrangement stands out for its powerful tutti horn section that adds punch and drive. Pianist Dante Picca follows with a technically impressive solo—fluid, articulate, and full of forward motion—showcasing his command of the instrument and deep feel for the hard bop language.

A standout moment arrives with “Don’t Explain.” This rendition doesn’t try to reinvent the wheel—it pays homage. The vintage arrangement is tastefully nostalgic, complete with a moody horn section and an introspective bass solo from Sikivie that leads us beautifully back into the bridge. Another Nancy Wilson classic, “The Great City,” gets a minimalist, high-energy treatment that highlights the power of space. The track opens with just vocals and congas—Carolina Cohen’s swing-inflected touch is one of the album’s secret weapons—before giving way to a robust tenor saxophone solo by Guido Baucia.

The Original: “Thirsty Soul” and Anita’s Voice

The title track, “Thirsty Soul,” is the only original composition and features fellow Argentine vocalist Sol Liebeskind. It’s a smoky, gospel-tinged blues style tune, introduced a cappella with layered vocal harmonies that feel both sacred and streetwise. Juan Canosa’s trombone solo and Ramiro Penovi’s blues guitar lines flesh out the tune’s soulful landscape. Donndorff and Liebeskind sound effortless together, their voices dancing in dialogue rather than competition.

“Lonely House,” from Kurt Weill’s Street Scene, is theatrical in the best sense—melancholic, dramatic, but never overwrought. Sergio Wagner’s trumpet fills and Penovi’s minimalist guitar comping echo and amplifying the song’s theme of urban solitude, a fitting tribute to Weill’s cabaret-rooted sensibility.

Cole Porter’s “You’d Be So Nice to Come Home To” is breezy and uptempo, but Donndorff never sacrifices clarity for speed. The arrangement gives her space to breathe and phrase naturally. The ensemble leans into the groove without rushing, making this a fun yet sophisticated palette-cleanser before the final track.

Closing in Duet: A Moment of Intimate Magic

And what a closer it is. “Ana Luiza,” a haunting Jobim ballad, is the second Bernstein duet and perhaps the emotional heart of the album. Sung in Portuguese, Donndorff’s voice is as transparent as a morning breeze, complemented by Bernstein’s intricate yet understated guitar work. The result is pure intimacy—nothing forced, nothing wasted.

With Thirsty Soul, Donndorff reaffirms her place in the global jazz landscape. Fluent in multiple musical languages—jazz, tango, bolero, swing—and equally at home in English, Spanish, and Portuguese, she crafts an album that’s both deeply personal and musically expansive. As Donndorff reflects, “This album captures a moment—my journey from Buenos Aires to New York, and the voices that shaped me.” She’s already hinted at a follow-up project, one that will feature more of her original compositions. “I’m already writing for my next album—mostly jazz, but not exclusively,” she shares. “Some pieces are collaborations with composers I admire, and that excites me.”

For an artist who has already proven her depth and range, Thirsty Soul feels like a bridge between cultures, between genres, and between chapters. This is an album that doesn’t just cross borders—it dissolves them.

Thirsty Soul will be available on all major streaming platforms and physical formats starting June 20, 2025.

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