Wait and See is Amanda Tosoff’s 2nd album, but her first studio album. It features Juno-award winning trumpet player Brad Turner and Amanda’s long-time band with Evan Arntzen on sax, Sean Cronin on bass, and Morgan Childs on drums. The music is all original and Amanda’s compositions blend traditional straight-ahead jazz stylings of Thelonious Monk, Bill Evans, and Dave Brubeck, with more modern sounds akin to artists like Brad Mehldau, Renee Rosnes, and Joey Calderazzo.
Raul d’Gama Rose from All About Jazz wrote:
Throughout the record, Tosoff displays a fine sense of balance between her ability to read perfectly the spirit and swing of the ensemble as well as her control over the improvised solo. And although she is exquisitely restrained when she is forced to draw the solo spotlight upon herself, as in “Soaring,” she quickly gives notice that she can—without allowing herself to drown the music with too many notes—hold her own and sing with a flourish, like Mike Garson, for instance, or even Chick Corea. On the same track, her interplay with bassist Sean Cronin in the penultimate chorus of her song recalls the charm and grace of Bill Evans and Scott LaFaro.
It is this finely skilled interplay that drives “Julia’s Blues,” a quirky swinging song that reveals that Tosoff also knows her musical ancestry in its acknowledgment of not merely blues pianists but (in an oblique way) the earlier stride pianists as well. For musicians today to display even a smattering of that much Jazz musical history is quite rare and refreshing. “New,” “Sad Clown,” “Robyn’s Song” and the title track, “Wait And See,” are all very sophisticated compositions and here as on other tracks too, Tosoff shows a remarkable grasp of the art of the song. She also has a fine sense of the narrative and, although many of the songs have more of a “minor” feel, her sense of drama—especially pathos— is all too real. And this means that Tosoff is serious about her art and is also unafraid to make an almost literary leap every now and then.
The element of surprise and the overall success of the project is also due, in no small measure, to the fact that these musicians appear to communicate almost telepathically. It isn’t just a matter of ideas being tossed out as the musical exploration turns up something exciting, but there is a sense that these musicians know each other’s thoughts deeply and can communicate at a deeper, more cerebral level. They do just that on Sean Cronin’s “Shorinji Kempo,” a fast-paced sketch and on “Stove-Top” as well.
– Raul D’Gama Rose (All About Jazz Review)