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Track Titles:
1 You Are There (Frishberg/Mandel)
2 Then I ll Be Tired of You (Harburg/Schwartz)
3 People Time (B. Carter)
4 When Lights Are Low (B. Carter/S. Williams)
5 Deep Purple (Parish/de Rose)
6 Reminiscing (Gryce/Hendricks)
7 Suppertime (Berlin)
8 Just Squeeze Me (Ellington/Gaines)
9 Something to Live For (Ellington/Strayhorn)
10 Stardust (Carmichael/Parish)
11 Lush Life (Strayhorn)
12 You re Getting to Be a Habit With Me (Warren/Dubin)
13 Come Sunday (Ellington)
14 How Are Things in Glocca Morra? (Lane/Harburg)
You Are There Editorial Review:
Grammy-nominated jazz vocalist Roberta Gambarini is one
of the most heralded talents of her generation. Following her
impressive debut, Easy to Love, Gambarini finds herself in
her ideal environment as a duet partner with the legendary
pianist, Hank Jones singing songs which help to define
the jazz cannon.
Customer Reviews:
Pristine & enjoyable
I love this CD and play it often. She has a pure, unfetteed tone and she plays with melody and lyrics. She's not trying to impress you or sing the crap out of something - she gives a lot of love and joy when she sings. I always want to hear more.
Minus Hank Jones, this left me cold
First off I'll state that before picking this up I had been a Hank Jones fan for years, and I had never heard of Roberta Gambarini. With that out of the way -
This album did very little for me. I'll admit that I'm not a huge fan of vocal jazz (outside of Frank Sinatra and maybe Ella Fitzgerald), but I found this release particularly dull. I'll grant that Gambarini has a good voice and probably has done more exciting work than this, but this is paint-by-numbers, conservative torch music. Not that there isn't a place for torch music in today's music scene, but this isn't a very good example.
Additionally, this album is WAY too long. 14 tracks and more than one hour long, and there is very little variation to be heard. The only reason I can imagine returning to this album is to hear Hank Jones's playing, which is always classy and sophisticated.
Not that good
Basically I found all the songs quite similar. At the middle of the cd you wonder if it is all the time the same song. Hank Jones play beautifully but, in my opinion, Gambarini doesn't swing very much and finds herself pretty uneasy out of the same path and rhythm. Not only it's not my cup of tea, but as well it's not that good.
The best recording of 2008 (and possibly 2009, 2010, 2011, etc.)
Start with a phenomenally gifted, rapidly ascending vocalist of the same heritage as Caruso and Sinatra, add as the sole pianist the musician who is the current reigning patriarch in jazz, and finally select a few sterling examples from the Great American Songbook. The results are predictably spectacular but not "showy" or "exhibitionistic." This is not an album simply to be impressed by. Gambarini is sufficiently mature, and in command musically, that she can afford to use her virtually unlimited technique to one end: bringing the song to realization for all concerned--the composer, the performer, and the listener. Indeed, "You are there."
Anyone who finds this music "boring" hasn't learned how to listen. If you have yet to discover the "sound of surprise" that is the hallmark of Sinatra's "suicide-song," "saloon-song" albums--Riddle-Jenkins' masterpieces like "Only the Lonely," "No One Cares," "In the Wee Small Hours," "September of My Years," "Close to You"--or, for that matter, of Shirley Horn's "Here's to Life" or of Jack Jones' "Paints a Tribute to Tony Bennett," a collection of ballads such as "You Are There" is apt to be out of reach, regardless of the performer.
To those who understand the American ballad, take notice. To the virtuoso, coloratura, Ella and Sarah credentials that Gambarini evidenced on her prior album ("Easy to Love"), she brings the crystalline elocution, the ear for narrative-dramatic-poetic meaning, the professional's attention to diction and phrasing that were the strong suits of Lady Day, Carmen McRae, and not least of all Old Blue. Some of the songs are more than familiar: "Body and Soul" is the most recorded song of all time, and "Stardust" not far behind. She revitalizes both, outfitting them in resplendent new clothes without changing the essential character of either. Other tunes are less familiar because singers either avoid them due to their difficulty or attempt them but get lost while trying to navigate the tunes' hazardous harmonic/melodic progressions. Gambarini takes on notorious "obstacle courses" like Strayhorn's "Lush Life" and "Something to Live For," not to mention Duke's stirring and noble "Come Sunday" and Berlin's poignant, heart-rending "Suppertime," yet makes you forget about the music's difficulty factor. All that matters is the song--its melody and lyrics reassuringly commanding the listener's attention rather than any thoughts about the challenges to the performer.
Perhaps "Deep Purple" is as good a track as any for illustrating what this singer is made of. The tune is admittedly a venerable chestnut, one I don't recall hearing except in the context of amateur, nostalgic singalongs. A later artist is apt to pass it by quickly (forgivably so) because its apparently trite lyric, melody and chords don't seem worthy of the performer's time and attention--the amorphous and hazy, abstract and even nonsensical lyric (Cole Porter would shudder), the extended near-moribund whole notes, the "unvocal" melodic leaps--in other words, an invitation at practically every measure for stagnation. No doubt Gambarini was aware of all this in electing to go after the song.
A "casual" listening will most likely dismiss the track as a pleasant reading of an old warhorse and little more. But such a response in itself testifies to Gambarini's success at making an awkward old duck sail by the listener's field of vision like an elegant swan. Now do a rewind and subject the performance itself to a close replay. After a verse introduction that's likely to leave even the most knowledgeable "expert" clueless about what's to come, she starts the familiar melody--an incisive, rock-solid E natural below middle C that effortlessly glides to the high note almost two octaves above it before "floating" down to the next resting point and then handing-off to Hank Jones for a chimerical chorus that breathes as though the pianist possessed vocal cords in each of his fingers. But she's not done yet. The last chorus essentially repeats the first but flows even more effortlessly, more reflectively, as the singer brings the meditative reverie to an immensely satisfying closure, connecting the realms of infinite desire and finite vast space that are the subject of this song's singularly abstract lyric. In fact, the alignment of the two realms is so complete the listener is apt to see the vocalist's inserted "cadenza" on the final note--which amounts to, in effect, a reenactment of the song's octave leaps in microcosm--as proceeding naturally and logically from the requirements of the song itself rather than as a performer's need to impress with a grand exit.
No more than two minutes in length, this single performance of a sentimental "period piece" is as immeasurably satisfying as any number of CDs and musical programs that this listener has encountered in the present millennium--and, far from a relic, ranks among the truly timeless performances that have been recorded since 1917 (the year of the first jazz recording).
Roberta Gambarinni and Hank Jones You Are There
Roberta's voice is pure honey. She has class in her singing and is very
hip in her style. Teamed with Hank Jones , the old master, you can't
have a better combo. Hank's a piano master and together they make music
you can listen to forever.
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>> >>Music >>Styles >>Broadway & Vocalists >>Traditional Vocal Pop
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