JULIANN KUCHOCKI, Kuchocki Sings DiNovi - But Only For You

A Timeless Songbook Reborn Through Love, Swing and Imagination

The art of falling in love has inspired countless songs, but there’s a quietly defiant magic in creating an album devoted entirely to its pleasures and possibilities. At a time when musical trends change overnight and the rush to release the next single often eclipses the deeper pleasures of interpretation, Juliann Kuchocki’s Kuchocki Sings DiNovi: But Only for You makes an eloquent case for the enduring power of a well-crafted song. Rich in romantic longing, playful sophistication and seasonal imagery, this lovingly assembled collection celebrates the songwriting of legendary pianist and composer Gene DiNovi while introducing his music to new listeners through Juliann’s unique interpretive sensibility.

Both a tribute and a deeply personal artistic statement, the album’s 11 exquisitely arranged tracks showcase DiNovi’s gift for pairing memorable melodies with lyrics that capture the many dimensions of love. Some numbers sparkle with brisk swing and flirtatious wit; others unfold as intimate ballads, their emotional revelations emerging through subtle phrasing, spacious arrangements and Juliann’s remarkable ability to move from conversational understatement to soaring high notes. Throughout, she balances theatrical expressiveness with the nuance and restraint that distinguish the finest vocal jazz.

For Juliann, this project represents more than an opportunity to revisit an underappreciated songbook. It is the culmination of a relationship with DiNovi’s music stretching back a decade, a reunion with her identity as a singer after years devoted to producing and presenting music, and an affirmation of the healing power of artistic expression. “I just feel they call them standards for a reason,” she says. “I wanted to call this a new set of standards.”

That ambition is fitting for DiNovi, whose extraordinary career connects the birth of bebop with the golden age of American popular singing and the evolution of Canadian jazz. Born in Brooklyn in 1928, he was just 15 when Dizzy Gillespie invited him to replace an absent pianist at a New York club in 1944. Charlie Parker subsequently joined the session, giving the teenager an unforgettable introduction to the revolutionary music taking shape on the city’s legendary 52nd Street.

DiNovi went on to work with Benny Goodman, Artie Shaw, Lester Young and Buddy DeFranco before establishing himself as an exceptionally sensitive accompanist to major vocalists, including Lena Horne, Peggy Lee, Anita O’Day, Carmen McRae and Tony Bennett. After relocating to Toronto in 1972, he became a fixture of the Canadian jazz community.

Juliann first encountered DiNovi professionally in 2016, when she invited him to perform at the South Coast Jazz Festival, the Southwestern Ontario cultural institution she founded and has led for 14 years. Their relationship deepened when he asked her to sing “Boy, Do I Have a Surprise for You” and “Once I Met a Day,” subsequently mailing her ten handwritten charts of additional compositions. The initial recording sessions took place in 2019 at Toronto’s Canterbury Music Company, where Juliann recorded those two songs with DiNovi at the piano. Then the pandemic interrupted the project, and the remaining material was set aside.

Juliann discovered Suri’s music through The Wall Street Journal’s coverage of the festival’s innovative pandemic-era television production, which earned the event recognition among recommended international jazz festivals. Drawn to Suri’s combination of jazz, classical music and Indian ragas, Juliann invited her to participate in the festival.

Years later, Suri’s availability for a single weekend finally set the album’s completion in motion. She helped develop the arrangements, worked through DiNovi’s handwritten charts with the musicians and contributed the music for “Waltz of the Heart,” which Juliann lyricized in approximately 20 minutes. The result is a collection that honors DiNovi’s legacy while allowing Juliann’s own artistic personality to shine.

The album opens with a burst of romantic exuberance. “I Like What I See in You” establishes its buoyant spirit through an elegant piano introduction that quickly gives way to brisk swing, crisp guitar, animated drums and warmly expressive violin. Juliann’s entrance is immediately engaging, her clear, conversational delivery infused with the playful sensuality of someone discovering that attraction might be mutual.

The arrangement gives every musician room to contribute without losing sight of the central flirtation. A spirited violin solo dances above the piano, while the guitar adds a nimble improvisational passage. Later, the interplay between bass and drums becomes almost conversational before the ensemble returns to the melody. Juliann navigates the changing registers with ease, building toward an exuberant affirmation of romantic possibility.

It is an ideal introduction to her versatility, which becomes even more apparent on “One Like You.” A delicate acoustic-guitar figure establishes a hypnotic foundation, joined by soft piano and a restrained rhythm section. Rather than pursuing the opener’s extroverted swing, Juliann settles into an intimate, deliberate delivery that allows the lyric’s cautionary wisdom to emerge. The song speaks to the desire for lasting commitment rather than fleeting attraction. Its emotional significance is not lost on Juliann, who has experienced betrayal in her own life.

The contrast between these opening performances is deliberate. Juliann believes in arranging an album as an arc rather than presenting a succession of unrelated tracks. “Once I Met a Day,” one of the two songs originally recorded with DiNovi, occupies a dreamier landscape. A moody piano introduction establishes an atmosphere of wistful reflection as Juliann contemplates a day made beautiful by its smallest pleasures. Her interpretation follows the lyric’s development, moving from soft introspection toward a more expansive expression of wonder. Juliann gradually reaches for higher notes, building dramatic intensity before sustaining a graceful final phrase.

The album’s recurring preoccupation with wishes, renewal and love becomes particularly apparent on “One Very Small Wish.” A light shuffle and lilting jazz-guitar introduction establish a playful, waltz-like atmosphere. Juliann responds with coquettish charm and expressive clarity, allowing the lyric’s seemingly modest wish to grow into something more consequential. Instrumental passages featuring guitar, piano, bass and drums expand the arrangement, giving the song’s modest wish a more consequential feel.

“Have a Heart,” co-written by DiNovi and Johnny Mercer, takes a more reflective approach to affection. A winding violin introduction sets the mood for a restrained ballad, its melancholy piano harmonies providing a spacious setting for Juliann’s lower and middle registers. Drew Jurecka’s violin becomes an expressive partner, sometimes echoing the vocal line and elsewhere introducing a note of yearning that deepens the arrangement. A Grammy-winning musician, Jurecka brings both technical command and heartfelt sensitivity to the performance. His playing never feels ornamental; each phrase contributes to the song’s unfolding narrative.

That balance between wit and sincerity reaches a different destination on the Peggy Lee-associated title track, “But Only for You.” A blues-inflected piano vamp and relaxed drum pattern establish a sly, strolling groove, creating the perfect backdrop for Juliann’s knowing, flirtatious delivery. The lyric imagines the extravagant things she might do for a beloved, from dancing and playing music to flying to Paris or setting sail. Juliann delivers the lines with sassy confidence, recalling classic cabaret while remaining distinctly her own.

The repertoire’s spring-themed songs provide another important dimension. “It Might Just Be Spring,” written by DiNovi and Gary Michael Dault, begins with a dramatic piano flourish before settling into a restrained ballad. Darker piano colors contrast intriguingly with Juliann’s luminous upper register, emphasizing the gradual return of warmth and possibility suggested by the lyrics. As brushes and guitar enter, the arrangement becomes more expansive without sacrificing intimacy. Her voice seems to hover above the accompaniment, capturing the fragile optimism of a season just beginning to change.

“I Fall in Love in the Springtime,” also written by DiNovi and Dault, develops a related theme through a graceful, slow-moving arrangement. Jurecka introduces the melody with a delicate violin passage before Juliann enters, her crystalline delivery moving naturally from lower phrases into more elevated notes. The violin responds as though engaged in conversation with the singer, eventually taking an extended, lyrical solo that deepens the romantic atmosphere.

For Juliann, the album’s recurring themes of renewal and hope have a deeply personal foundation. She describes herself as an optimist, but she also recognizes that hope becomes more meaningful when it follows hardship. Her own history provides that perspective. A professional dance career that took her around the world, including performances in Cats in Germany, Beauty and the Beast in Japan and Joseph and the Amazing Technicolor Dreamcoat alongside Donny Osmond, was derailed by serious car accidents and a long recovery. Her 2012 album, Broken Compass, mirrored the inner turmoil of that period.

“I had to work hard to get back into shape vocally,” Juliann says. “My background in musical theatre had encouraged a more projected, dramatic approach, and I needed to rediscover how to let a jazz lyric breathe. I had to learn to trust restraint, listen closely to the musicians and respond to what was happening in the moment. It was a process of reconnecting with my voice and finding the right way to serve these beautiful songs.”

That evolution is especially evident on “Love Can Do Anything,” one of the album’s most affecting performances. Piano, brushed drums and violin establish a tender, almost whispered atmosphere. Juliann initially keeps her voice close and understated, allowing the lyric’s message of reconciliation and human understanding to emerge without exaggeration. The result is a moving reminder of the power of connection in a fractured world.

The final two songs bring the album’s personal and creative dimensions together. “Boy, Do I Have a Surprise for You,” the other song recorded with DiNovi at the piano, unfolds as a delicate duet. His flowing introduction establishes a reflective mood, and Juliann answers with a dreamy, intimate vocal that gradually deepens in intensity. The revelation that the singer herself is the beloved’s surprise adds a touch of understated theatrical charm.

The album concludes with “Waltz of the Heart,” the collaboration between Suri and Juliann. Its graceful waltz rhythm, delicate violin harmonies and fluid piano create a sense of movement that is both reflective and hopeful. Juliann’s lyrics consider how past experiences can lead to an unexpected destination, where pain and uncertainty give way to the possibility of a new beginning.

The recording benefits greatly from an accomplished supporting cast. Pianists Brian Dickinson, Ewen Farncombe, Nancy Walker and Adrean Farrugia each bring a distinct personality to the material, while Suri’s contributions extend beyond her own performance to the collaborative development of the arrangements. Bassist Neil Swainson, drummer Mark Kelso and guitarist Rob Piltch provide a cohesive foundation, while Jurecka’s violin supplies an expressive voice throughout.

Juliann approached the sessions with clear ideas while leaving room for the musicians to shape the arrangements and develop their solos organically. Her background in dance also informs her phrasing. During her years as a tap dancer in Japan, she developed a deeper understanding of rhythm by listening closely to drummers and studying time signatures. That physical awareness remains audible in the way she responds to rhythmic shifts, bringing the instincts of a performer who understands that a song has a body as well as a melody.

For all her achievements as a producer and arts leader, Juliann’s immediate hope for this album is straightforward. She wants listeners to discover DiNovi’s extraordinary songwriting and recognize the continuing relevance of music that celebrates love, generosity and the possibility of understanding one another. There is poignancy to that wish. DiNovi, now 98, has spent more than eight decades making music, yet Juliann believes much of his songwriting remains insufficiently recognized. Introducing these compositions to new listeners is therefore both a professional honor and a personal responsibility.

In Juliann’s hands, these songs remain living expressions of what music can accomplish: making us laugh, encouraging us to risk loving again and reminding us that even in difficult times, there is always room for a little more beauty.