Home » Jazz Articles » Album Review » Anita Donndorff: Thirsty Soul

Anita Donndorff: Thirsty Soul

By Dan Bilawsky
July 17, 2025
View read count

The second album from Argentina-born, New York-based vocalist

Anita Donndorff

vocals
b.1995

" data-original-title="" title="">Anita Donndorff owes its identity to both of her homes. With studio sessions taking place in Buenos Aires and the East Village in Manhattan, and some Argentinians and two Americans contributing to Latin-inflected takes on songbook standards, this notable newcomer proudly displays her history through Thirsty Soul.

Working closely with bassist

Paul Sikivie

bass, acoustic

" data-original-title="" title="">Paul Sikivie, who arranged the full-band performances (recorded in Argentina) and performs on the majority of the album, Donndorff ably demonstrates her command of lyric, mood, melody and story. Album starter "No Moon at All," with a rubato bridge intro from the leader and pianist

Dante Picca

piano

" data-original-title="" title="">Dante Picca, and a sly trumpet solo from

Sergio Wagner

trumpet

" data-original-title="" title="">Sergio Wagner, seduces in alternating straight time and swing. Dipping into

Nancy Wilson

vocals
1937 - 2018

" data-original-title="" title="">Nancy Wilson territory with "The Old Country," Donndorff makes her mark before ceding space to trombonist

Juan Canosa

trombone

" data-original-title="" title="">Juan Canosa, who works around and responds to the tight-written horns and Picca. Then she delivers a spellbinding "Don't Explain," complete with a welcome spotlight on Sikivie.

"The Great City," sitting at center, features breaks with conga-only accompaniment from

Carolina Cohen

congas

" data-original-title="" title="">Carolina Cohen and highlights tenor saxophonist

Guido Baucia

saxophone, tenor

" data-original-title="" title="">Guido Baucia's cool-headed blowing. The title track—the album's lone original—stands apart with its stirring vocal intro and all that follows. Donndorff's

Nina Simone

piano and vocals
1933 - 2003

" data-original-title="" title="">Nina Simone-esque posture, and Canosa and guitarist

Ramiro Penovi

guitar

" data-original-title="" title="">Ramiro Penovi's complementary solos, operate on the same wavelength.

Kurt Weill

composer / conductor

" data-original-title="" title="">Kurt Weill's infrequently-covered "Lonely House" proves to be another notable performance, where patience rules and Donndorff delivers in mellow light. "You'd Be So Nice to Come Home To" swings in typical upbeat fashion, with on-point singing, ensemble writing and soloing aligned.

The two remaining tracks—one near album's beginning, the other at its end, both recorded in New York—pair Donndorff with guitar great

Peter Bernstein

guitar
b.1967

" data-original-title="" title="">Peter Bernstein. "Charade" wins out with its bounding feel, the leader's clean delivery and Bernstein's tasteful soloing; and "Ana Luiza" considers Donndorff's gifts for subtlety, easy way with Brazilian music and strong rapport with the guitarist. When operating in such an intimate setting, her considerable interpretive skills are magnified. But that's not to say they're buried with the band. In any atmosphere, Donndorff seems to find a way to shine. An appealing statement indicative of a wonderful presence and bright future, Thirsty Soul truly satisfies.

Learn more about our star rating system

Track Listing

No Moon at All; Charade; The Old Country; Don't Explain; The Great City; Thirsty Soul; Lonely House; You'd Be So Nice to Come Home To; Ana Luiza.

Personnel

Anita Donndorff

vocals

Sergio Wagner

trumpet

Juan Canosa

trombone

Guido Baucia

saxophone, tenor

Ramiro Penovi

guitar

Eloy Michelini

drums

Paul Sikivie

bass, acoustic

Carolina Cohen

congas

Additional Instrumentation

Sol Liebeskin: vocals (6); Peter Bernstein: guitar (2, 9); Felipe Arce: bass (5)

Album information

Title: Thirsty Soul | Year Released: 2025 | Record Label: Fresh Sound New Talent

PREVIOUS / NEXT

Take Five with vocalist Diana Hamilt...
< Previous

Orbits
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.