[JPL] Roberta Gambarini

Bradley M. Stone bstone at science.sjsu.edu
Tue Sep 12 17:14:58 EDT 2006


Roberta was awesome at the San Jose Jazz Festival last month.  I'm glad I had the opportunity to see her live.  She does this amazing bit where she "vocalizes" the playing of a trumpet solo... I swear if you closed your eyes, you would believe that it was a real trumpet.  She has a marvellous voice, great stage presence, and of course she does all this despite English not being her first language.

Brad



-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com]On Behalf Of
tomthejazzman at earthlink.net
Sent: Tuesday, September 12, 2006 1:17 PM
To: Jazz Programmers Mailing List
Subject: [JPL] Roberta Gambarini


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Lets change the name of this thread.  I saw Roberta with Hank Jones in June
at Hunter College and they also had Russell Malone, Roy Hargrove, and Joe
Wilder as guests.  It was an awesome performance.  Like you said Jim,  she
has pipes and is making a name for herself.  I much perfer to use my
limited time for vocals for someone like this who is the REAL DEAL versus
artists who want to do a Jazz Standards releases, or their labels want them
to do that.  ALOHA  Tom


> [Original Message]
> From: Jim Wilke <jwilke123 at comcast.net>
> To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
> Date: 9/12/2006 4:08:12 PM
> Subject: Re: Smokey Robinson!!! Re: [JPL] Gladys Knight - Say What?
>
> -------------------------------------------
>
> This week's sponsor:  Russ Kassoff - ''SOMEWHERE'' (2006) - RHK JAZZ 
>
> -------------------------------------------
>
> The Jazz Programmers Mailing List is a free service provided by JazzWeek.
> For more information visit us at  http://www.jazzweek.com/jpl
> To become a sponsor contact Ed Trefzger 
> at ed.trefzger at jazzweek.com or 866-453-6401.
>
> -------------------------------------------
>
> Mark, Jae, and anyone else who may be still reading this thread....
>
> This is all very well and good that famous pop stars are doing albums 
> of standards and pretending to be jazz singers, but I think it's 
> unfortunate that these "projects"  draw attention only to themselves 
> and do nothing for the real art of jazz singing.   With all the  pop 
> stars doing "jazz albums"  (standards albums, really), the real jazz 
> singers who've worked hard to hone their talents for years, decades in 
> some cases, get ignored.
>
> For instance, has anyone said anything about Roberta Gambarini and her 
> CD "Easy To Love" ?  She's a mature artist who had a career in Europe 
> before coming to the US and is simply one of the best singers on the 
> scene today.  Pitch? Rhythm? Phrasing?  Interpretation? Improvisation? 
> Vocal quality?  She has it all in spades, and her first US CD (recorded 
> in 2004 after many years in the US) is finally out.  I've had some of 
> these tracks on a CDR for a few years, but the CD was finally issued in 
> Japan and is at last available here after too long a wait.   I'm so 
> happy to have it to play on Jazz After Hours!
>
> It's not just me, Hank Jones thinks she's one of the great ones and is 
> accompanying her at the Monterey Jazz Festival this weekend.  Her New 
> York gigs were with The Dizzy Gillespie Alumni Band, and James Moody 
> trades 4s with her (vocally and saxily) on her CD.  So far this summer 
> she's played the JVC Jazz Festival NY, Scullers, The Blue Note, San 
> Jose Jazz Festival, Hollywood Bowl, Tanglewood, Yoshi's and other spots 
> and will be back at the Blue Note in October.
>
> Roberta Gambarini compares well with Ella, Carmen and Sarah - and comes 
> off as one for our time who keeps the vocal jazz standards high.
>
>
> Jim Wilke
> Jazz After Hours, PRI
> www.jazzafterhours.org
>
> On Tuesday, September 12, 2006, at 12:22  PM, Jae Sinnett wrote:
>
> > -------------------------------------------
> > Mark,
> >
> >   Okay we disagree which is fine but one of these differences is that 
> > I'm not drawn as easily drawn into embracing musical inadequacies. 
> > Mild intonation problems aren't that big a deal to me because it's so 
> > prevelant in jazz unfortunately. I love Bob Mintzer for example and he 
> > plays flat usually and occasionally sharp. Miles played flat but I 
> > love Miles. Betty Carter sang out of tune so much so that even Carmen 
> > McRae commented on it. It's when these intonation problems take away 
> > from the music where I have issues with. In my opinion Smokey's 
> > intonation problems take away from the music and to say that he is 
> > swinging harder that Gladys......WITHOUT listening to her disc is a 
> > bit premature. Wouldn't you say so? My guess though is that even after 
> > you hear it we still won't agree. Your passion though is appreciated 
> > from my perspective.
> >
> >   Jae
> >
> > Mark Shapiro <speaklow at earthlink.net> wrote:
> >
> > -------------------------------------------
> > Jae, you wrote,
> >
> > "Mark, I'm not sure why you attached your Smokey posting to the one I 
> > wrote in about Gladys Knight - particularly when yours had absolutely 
> > nothing to do with Gladys Knight."
> >
> > The connection being that they're singers not usually associated with 
> > jazz and both from the same general musical background. Our 
> > disagreement is interesting, since I find myself defending what I 
> > usually don't - an album by someone without jazz creds and with some 
> > tracks not jazz (for example, I'm among those who are LEAST likely to 
> > be attracted to a Motown version of "Tea For Two"). However, in this 
> > case, I think that Robinson pulls it off gorgeously, as well as, as I 
> > mentioned, the album communicates to me at a deep emotional level.
> >
> > "ONE reason.....he's singing horribly out of tune. In this case it 
> > doesn't have as much to do with him not connecting with a tonal center 
> > of the song but more to do with his obvious inability to sing 
> > musically and comfortably over advanced harmonic structures."
> >
> > He's not "horribly" out of tune. Whatever problems with his 
> > intonation, I find them easy to forgive. I am quite WILLING to forgive 
> > in a case such as this, especially, since generally, I don't pin my 
> > estimation on an artist on maintenance of pristine intonation. As far 
> > as comfort with the harmony, I hear nothing but his great ease with 
> > the songs. In fact, what strikes me is the depth of his understanding 
> > - musical and emotional - of these songs.
> >
> > "Further.....because of this he apparentely doesn't have the ability 
> > to "compliment" the chord with "color" tones that would be in line 
> > with the harmony that is supporting him. Then throw in that limited 
> > range, annoying fast vibrato (particularly when it's out of tune), his 
> > struggles with singing in time in spots with the rhythm on some songs 
> > and not being able to move the music forward with textural 
> > understanding and flare."
> >
> > The vibrato and falsetto are bound to turn many people away. Even I 
> > know don't usually like that kind of singing, but I do in this 
> > particular case. Contrary to your estimation, I hear Robinson weaving 
> > inside the songs masterfully and with beautiful momentum and panache. 
> > My usual taste for singers is very straight ahead, and I usually am 
> > not attracted to the more idiosyncratic interpertations. But here, I 
> > hear a showman's style to match a deep feeling for the material.
> >
> > "I'm not sure if he picked the material or his producer but the songs 
> > selected work totally against his capable level of singing. This is 
> > what's so surprising to me with the Gladys Knight CD. There's simply 
> > no comparison - no matter which way you look at it."
> >
> > I'll listen to the Knight CD a couple more times, but so far she 
> > hardly gets to me like Robinson. My impression is that her phrasing is 
> > stop-start and and short of the rhythms of those songs. For me, as far 
> > as comparing these two albums, Robinson has a much greater jazz and 
> > swing sense than does Knight .
> >
> > Mark Shapiro
> >
> > -------------------------------------------
> >
> >
>
> -------------------------------------------
>
> This week's sponsor:  Russ Kassoff - ''SOMEWHERE'' (2006) - RHK JAZZ 
>
> -------------------------------------------
>
> ''It goes without saying that FRANK SINATRA could have enlisted the
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speaks volumes about Kassoff's unequivocal artistry, which is splendidly
showcased on SOMEWHERE'' (Jack Bowers-AAJ).  After almost 40 years as a
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McPartland), ''SOMEWHERE is a masterpiece'' (Bucky Pizzarelli).
>  
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>  
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>  
> For more information, interviews, etc. -- please contact:
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>
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-------------------------------------------

This week's sponsor:  Russ Kassoff - ''SOMEWHERE'' (2006) - RHK JAZZ 

-------------------------------------------

''It goes without saying that FRANK SINATRA could have enlisted the services of any accompanist he wanted. The fact that he chose RUSS KASSOFF speaks volumes about Kassoff's unequivocal artistry, which is splendidly showcased on SOMEWHERE'' (Jack Bowers-AAJ).  After almost 40 years as a professional musician, KASSOFF's first album as a leader features his serene beauty, intriguing style, and vivid concepts as an outstanding composer and gifted improviser.  With MARTIN WIND (bass) and TIM HORNER (drums), ''SOMEWHERE is vibrant, compelling, and destined to become an essential component of collections that favor jazz trios'' (Paula Edelstein-AMG).  ''Performed with class and a fine touch'' (Marion McPartland), ''SOMEWHERE is a masterpiece'' (Bucky Pizzarelli).
 
ON YOUR DESKS NOW!
 
GOING FOR ADDS:  8/28
 
Available on-line:  www.cdbaby.com/kassoff
 
FALL ITINERARY (including Knickerbocker in NYC with BUCKY PIZZARELLI Sept. 28-30), (Midtown Jazz at Midday - Saint Peter's @ Citicorp NYC - 1 PM Oct.11),  UPDATED BIO, PRESS RELEASE, PHOTOS and more, please visit www.russkassoff.com/somewhere
 
For more information, interviews, etc. -- please contact: katesmith999 at yahoo.com and visit www.katesmithpromotions.com

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