Search - Angela Hagenbach :: Way They Make Me Feel (Dig)

Excellent recording of some special songs

Peter M. Kambiss | Las Vegas, NV | 03/07/2010

(5 out of 5 stars)

"I had heard her version of Summer Me, Winter Me on our local jazz station and knew I had to have this CD. She sings some wonderful songs from Mancini, Mandel and Legrand in a jazz vein with great backup musicians. Her phrasing and emotion make some of these familiar songs sound new again. She has obviously been influenced by Shirley Horn, and comes close to making Quietly There her own song. Highly recommended"

Separating the men from the boys (and women from the girls)

Samuel Chell | Kenosha,, WI United States | 02/10/2010

(4 out of 5 stars)

"I've recently received a dozen albums by talented, "new" female jazz singers. As deserving as the artists are, not to mention the production values from liner notes to sophisticated full-blown orchestral arrangements, these are not the best of times for jazz vocalists. Women vocalists, in general, are more likely to find a jazz venue than males, though even that apparent advantage is neutralized because of the crowded, competitive field.



Hagenbach's strong suit is a timbre that's highly individual, personal, possessing sufficient "grain" to enable her to avoid the familiar descriptive terms: "sultry," "silky," "smooth" ("smoldering," "incendiary" would work). In fact, at times she goes for a C below middle C and imparts an undeniable masculine quality to the equally unmistakable sexiness of her mannered elocution. Place her somewhere between Eartha Kitt and Shirley Horn, with some of the grit and even humor of the former and the aesthetic sensibilities and sensitive phrasing of the latter.



But at least to these ears the bar has been raised considerably since Horn-Mandell's "Here's to Life"--so much so that Roberta Gambarini is arguably the only singer of the past 20 years to reach it. The Italian singer, on the other hand, has never enjoyed the support that Hagenbach receives on this album--from veteran accordionist Frank Marocco to full orchestra. In fact, the accompaniment is so good (from arrangements to instrumental solo work) it practically competes with the voice. The strings, especially, complement her distinctive "edge," providing a cushion that is at once an engaging contrast and a foil to the kittenish (make that cat-like, or very "mature," adult-rated) sound. Although she sings several of the songs from Horn's and Mandel's sublime masterpiece, Hagenbach scores not by trying to out-scat or out-sing the field but by putting that distinctive purring sound before the listener and "daring" him or her to be seduced. Listeners who prefer a more innocent, vulnerable vocal delivery may shy away; the real men and women, on the other hand, are likely to stay.



After hearing the artist's all-knowing, worldly-wise, Mrs. Robinson-evocative sound, some listeners may be surprised to discover the pronounced youthful appearance of its source. Perhaps after this temperature-raising experience, they'll even sense the burning away of a few expendable layers of their own immaculate youth. Besides growing on you, Hagenbach's is a voice capable of making a listener feel grown up, even apart from repertory, arrangements, and orchestral settings."

Angela Hagenbach Will Make You Feel Great

Gary L Connely | Hercules, CA | 01/30/2010

(4 out of 5 stars)

""The Way They Make Me Feel," is Kansas City-based jazz singer Angela Hagenbach's sixth album and the first that she hasn't produced herself.



Ms Hagenbach has a sultry, smokey alto voice with a sexy growl in her lower register and a lovely bell-like tone when she hits the high notes. She has an easy swinging style and a penchant for Brazilian rhythms.



"The Way They Make Me Feel," is a collection of songs by Michel Legrand, Johnny Mandel and Henry Mancini, including: "I Will Wait for You," and "The Way He Makes Me Feel," by Mr Legrand; gorgeous versions of Mr Mandel's "Cinnamon and Cloves" and "Close Enough for Love;" and "Slow Hot Wind" and "Charade," by Mr Mancini.



On five of the eleven songs, Ms Hagenbach is backed by a rhythm section, augmented by a trumpet, sax, guitar and - I'm not kidding - an accordion. On the other six songs, a full string section is added to this already heady mix. I don't recognize any of the musicians, but there's good work here - particularly from Tamir Hendelman and Kuno Schmid, the two pianists, trumpeter Willie Murillo, saxman Steve Wilkerson and - and I'm not kidding - Frank Marocco on the accordion.



The sonics are decent - the breathy growl and deep resonance of Ms Hagenbach's unusual voice are nicely presented and there's plenty of instrumental separation."