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His friend and frequent collaborator, Ethan Hulse, helped Ripp pen a slightly new iteration of the inspirational track that encourages listeners to look for the gold in their lives, especially in moments where they find themselves in between a prayer and an answer.Īt times, the thoughtful lyrics of the song read like a passionate invocation: Thankfully, when I brought it up over breakfast with Thad, he was equally as jazzed about the idea as I was. As soon as I heard, ‘ I’ve been walking to a city I cannot see’ I knew I needed to explore the potential of making this a Ripp tune.
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I got in my car one day and my Bluetooth began magically playing a song that was on my phone without me thinking about it. “‘Fill My Cup’ was first written and recorded by my good friend, Thad Cockrell, who is one of my favorite artists of all time and also happens to be a great friend of mine. “The adventure this song went on to eventually make it’s way on to my record is unlike any other song I’ve ever released,” Ripp shares. LISTEN NOW: “Fill My Cup” Official Lyric Video The upbeat track itself took a long, winding path to the radio version fans are currently hearing on K-LOVE.
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Alternating between tenor and alto, he leaned into the theme like a soul crooner, offering more evidence for his durable lyricism and resourcefulness as a tunesmith.After topping the charts with “Jericho,” singer/songwriter Ripp returns with “Fill My Cup,” a high-energy anthem that’s equal parts truth and plea. The alluring melody sounded familiar but not derivative, with graceful contours redolent of the imagination of George Cables (Handy’s bandmate in the Cookers). The set closed with Handy’s “Lexi’s Song,” a tune introduced on bassist Avery Sharpe’s 2011 tribute to Jesse Owens, Running Man. The steady thrum of chatter from the bar eased as the melody ascended. A brief but satisfying duet with Handy on tenor sax on Ellington’s “In a Sentimental Mood” more than filled the set’s requisite ballad spot as he mined the theme’s rich vein of romanticism. Pianist Joe Gilman, too little heard on Bay Area stages since he relocated to the capital to teach at American River College and Sacramento State, demonstrated with each eloquent solo why he was an accompanist of choice for vibraphone legend Bobby Hutcherson. Bassist Marcus Shelby, who had spent the previous two evenings down the street at the SFJAZZ Center anchoring the premiere of a new orchestral work by trumpeter Ambrose Akinmusire, locked in with Cuenca to keep the quartet at a finger-snapping canter. Switching to tenor sax for the first time in the set, he dug into the swaggering mid-tempo tune with such a Dexter Gordon-ish presence it felt more like a cold pitcher of stout. Handy introduced his new tune “Come Again?” as a “cocktail-piano” piece written at the keys while hunkered down during the pandemic. Tipple’s on March 23 leading her own quartet). It’s a near-standard with a singsong theme that builds to a compressed backbeat, delivered by Cuenca with crisp precision. With his warm, pliable alto tone, Handy dug into a sleek and funky version of Mulgrew Miller’s “Soul-Leo” from the late pianist’s early album Wingspan.