Search - Roberta Gambarini :: So In Love

Don't even consider this one until you've picked up "Easy to

Samuel Chell | Kenosha,, WI United States | 09/11/2009

(4 out of 5 stars)

"By now many listeners have heard nonagenarian Hank Jones' extravagant claim that Roberta Gambarini is the best female jazz singer to come along in the past 60 years (translation: she's the first bona fide successor to Ella and Sarah). All you have to hear is her version of "On the Sunnyside of the Street" from her first of three major albums, "Easy to Love" ("So in Love" is the third--an impressive achievement in itself during a time when most new talent is going unrecorded or resorting to self-produced projects). But once you listen to the aforementioned Jimmy McHugh chestnut as performed by Roberta performing the version by Dizzy, Rollins and Stitt (replicating their solos), you realize that Jones' assertion is not necessarily hyperbolic. The only singers who come to mind with chops comparable to Roberta's are Ann Hampton Calloway and Cheryl Bentyne. Of course, there's much more to being a jazz singer than having pyrotechnical skills (otherwise, heaven help Billie Holiday), but Roberta gives evidence of being able to distill a tune, such as the title song of "So in Love," to its expressive essence. She's so strong--as a musician, actress, stage presence--that her self-assured confidence at times seems to be her greatest obstacle. You almost wish she could be slightly less definitive, less perfect, more vulnerable and spontaneous in order to capture a bit more of the surprise, delight, and emotion of in-the-moment creation, whether on the ballads or up-tempo numbers. So far, she's still singing "for" the listener--and a highly fastidious one to be sure--rather than directly "to" the listener. With the self-assurance of greater acceptance and fame, one hopes that she can forget about merely "impressing" the audience, whether with her chops or her ultra-calm composure, and emulate Ella and Sarah, who could be vulnerable and excitable, capable of reaching or straining yet not always attaining perfection.



In sum, Roberta Gambarini is special. She's singular, a "freak," a polymath blessed not only with an exceptional instrument and technique, with a genuine understanding for the "language" of jazz as spoken by its founding fathers (Pops) and leading revolutionaries (Bird, Diz, Stitt), but with a withering intellect (her knowledge of, and respect for, American jazz history is evident in her choice of friends, co-musicians, and repertory), and with a superior command of the English language--all of which put her "beyond category." (Compare her version of any tune with the same tune as sung by any number of more heralded, more popular singers and, assuming you're able to listen carefully, I'm afraid there's nothing to compare.)



No doubt the photographer/producer was pleased with the glammed-up image of Roberta on the front cover, though one hopes the subject doesn't take it too seriously. It's the equivalent of a Playboy brush-up--artificial, disappointing, and even a bit ominous. Moreover, it's doubtful whether the audience for Roberta's kind of music will buy it. On the other hand, if that's what it takes to get Americans to pay a modicum of attention to their indigenous art . . .



This is a fine album, but I'm afraid it confirms the sui generis status of her debut, "Easy to Love," one of the 4-5 best vocal albums of the thousands I've listened to and programmed for our NPR station over the past 50 years."

Another well-done Gambarini sound show

abcde | ny | 09/06/2009

(4 out of 5 stars)

"Roberta again shines on this CD: her voice is strong, smooth, and dripping with feeling. And, the sterling side-players are equally compelling; indeed, they play with admirable restraint in order to allow Roberta to remain front and center. To my mind, the song selection leaves a bit to be desired: too many of these songs are long-time staples, and it may be that, like me, you are somewhat tired of them. (And, I was disappointed to hear the "I" at the end of "Over the Rainbow" seem to morph into a different sound.) But fans of glorious jazz singing should surely have no hesitation about this CD."

A Grammy Nominated Album

Rebecca*rhapsodyinblue* | CA USA | 12/22/2009

(5 out of 5 stars)

""As I look back at all the songs here, I realize that this album is all about love: the love between man and a woman, the love of song, the love of children, but most of all, the love of life itself....I would like to thank my family, friends, and all music lovers all over the world for supporting this music. My hope is that the next years will bring a renewed, heightened awareness and appreciation of this form of art....Keep music education alive, and GOOD music on the air." ~ Roberta Gambarini ~



First off, this recording has been nominated for the 52nd Grammy Awards in the category of Best Vocal Jazz Album. So what's so special about this album that it earned a Grammy nomination?



Roberta Gambarini boasts an extraordinary style of singing that will easily grab the listener's undivided attention. In addition, she can scat with fluency and grace without hesitation and makes it sound so melodiously pleasant to the ears. She can sing any song with the jazziest arrangement and can pull it off effortlessly. She's also very impressive in delivering slow tempo ballads and giving them justice and emotional honesty. She can add sparkling charms to ordinary songs and turn them into exceptional ones with her artful and convincing interpretations. Aren't these compelling reasons why this recording earned a Grammy nomination?



With this album, I have discovered fresh interpretations with pretty great arrangements of rare Italian standards that I'd love to listen with a few repeats. A perfect example is "Estate" featuring Gerald Clayton's articulate chops on piano, Chuck Berghofer's precise workings on bass and Jake Hanna's grooves on drums. Another one is the medley of "Cinema Paradiso" where Roberta Gambarini is backed by pianist Eric Gunnison, bassist George Mraz and drummer Al Foster.



Her "childhood idol" and mentor James Moody, who himself is a great tenor saxophonist, graced this recording with his outstanding performances on "Get Out of Town," "I See Your Face Before Me" and "This Is Always." Roy Hargrove, a versatile musician who can play trumpet and flugelhorn, showed off his talent in both instruments heard in "Crazy" (flugelhorn) and "This Is Always" (trumpet).



The effervescent "Day In Day Out," bubbly "That Old Black Magic" and scat-a-plenty "From This Moment On" were all rendered with blazing fire and tons of energy while timeless "Over The Rainbow" was executed dramatically with only a piano accompaniment by a fine musician, Tamir Hendelman. It was very nice of Ms. Gambarini to have added the seldom-heard introductory verse from the treasure chests of songwriters Harold Arlen and E.Y. Harburg.



I could go on and on about all the great things this album has to offer, but suffice it to say that it is one of the finest jazz recordings ever produced. Wholeheartedly recommended!



P.S. Congratulations to Ms. Gambarini, all the fine musicians, Larry Clothier, and Al Schmitt for making this album so remarkable and worthy for a Grammy nomination.

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