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Los Angeles Times

JAZZ SONGSTRESS HITS ALL THE RIGHT NOTES

The problem with jazz singing is that almost no two listeners can agree on exactly what it is. Fans of supercharged scat tend to dismiss vocalists who emphasize long-toned balladry; listeners who insist upon the importance of lyrical storytelling have less regard for performers who use the words primarily as vehicles for musical mobility.

All of which makes the singing of Denise Donatelli especially fascinating to hear, since her style has the capacity to employ the positive aspects (and eliminate the negative) of all those elements.

The first quality that was apparent Wednesday night at Charlie O's in Valley Glen was the rich timbre of Donatelli's voice, which has the clarity and flexibility to sing almost any imaginable genre — from pop/blues to operatic aria.

Given that potential vocal firepower, however, she used it at the service of the songs, rather than as a tool for sheer virtuosic display.

Her rendering of the Jule Styne/Sammy Cahn World War II hit, "I Fall in Love Too Easily," for example, brought the song to life with a subtle blend of lyricism and musicality. Occasionally enhancing the melody with subtle paraphrases, varying the timbre of her warm tone to emphasize the lyrics, she produced a classic example of communicative jazz ballad singing.

More rhythmic tunes — Ted Fiorito's "When Lights Are Low" and Nacio Herb Brown's "You Stepped Out of a Dream" (both with lyrics by Gus Kahn) — displayed Donatelli's capacity to invest her phrasing with a buoyant rhythmic swing without losing touch with basic melodies. She romped easily through the musically serpentine twists and turns of Milton Nascimento's "Make This City Ours Tonight." And her airy, floating-over-the-rhythm rendering of Matt Dennis' "Angel Eyes" in 6/4 meter revealed why she is a singer jazz musicians love to love.

Donatelli was accompanied by a trio of players — pianist Jeff Colella, bassist Tom Warrington and drummer Steve Houghton — who demonstrated that affection with the kind of subtle, musically interactive support that jazz singers love to love.

- Don Heckman, June 9, 2006

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Jazz Times Magazine

Fortune smiled on newcomer Denise Donatelli when pianist Tom Garvin agreed to arrange and produce her debut disc. That’s not to suggest Donatelli, whose only previous professional experience was fronting a trio in an Atlanta hotel lounge, couldn’t have made it on her own. She’s blessed with a pure, powerful voice that suggests the rock-solid assurance and keen intelligence of Ann Hampton Callaway tempered with a soupcon of Lena Horne.

But, despite the accolades being heaped on her by such knowledgeable listeners as Mark Murphy and Phil Woods, it takes more than just an above-average voice to lift one’s self above the pack. Enter Garvin, who places Donatelli in 11 exquisitely tailored settings as consistently dynamic as they are impressively different. In Garvin’s masterful hands (and with marvelous support from bassist Tom Warrington, drummer Steve Houghton and a phalanx of first-rate guests), “Dream Dancing” is transformed into a dazzling, down-filled reverie, “’Round Midnight” unfolds like eight minutes of classic film noir and, most laudable of all, “A Sleepin’ Bee,” swaddled in layers of both lace and buckram, rivals the gently swinging verve of the version Nancy Wilson recorded with Cannonball Adderley in 1962.

  - Christopher Loudon

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Jazz Improv Magazine

With a quick scan of the personnel—including masterful instrumentalists like Bob Sheppard, sax; Tom Garvin, piano; Steve Houghton, drums - I suspected that Denise Donatelli’s new album In The Company Of Friends, would likely be an enjoyable listening experience.

On that premise, I decided to take a slightly different listening approach. As a change of pace, I sometimes like to start out by first listening to the performances of ballads, the slow and relaxed pieces, on an album. In much the same way as horn players warm up with long tones to prepare themselves for performances, listening to ballads helps me to focus and tune in to subtlety and properly prepare for clearly reviewing a recording. Because of the slower tempos on ballads, notes are necessarily held longer. That means that the qualities of dynamics, phrasing, articulation, rhythmic placement of note, and intonation—playing or singing in tune—are much more exposed.

So I went directly to track three, a rendition of Thelonious Monk’s composition “’Round Midnight.” Donatelli turns an inarguably sublime interpretation of this classic. She is true to the melody without being predictable. Her expression is deliberate. Her intonation is impressive. I remember listening to jazz on the radio on carefree Friday nights, years ago, driving along the East River Drive in Philadelphia, and the kind of feelings of well being I experienced. Donatelli’s deep and sonorous voice on this ballad give me those same sensations. Similar kudos for her soulful performance Tadd Dameron’s unforgettable “If You Could See Me Now.”

“On Green Dolphin Street” is a standard, as well as a jazz standard. It moves through several harmonically interesting places—making it fun to play. Tom Garvin, who arranged all of the music on this album, has created a space for Denise to serve up an entirely new and unexpected interpretation of this haunting melody. The arrangement is in 5/4 time, and features a reharmonization of the melody. The bass line, played by Warrington, changes melodically to accommodate the reharmonization, but sticks to a predetermined rhythmic figure to add a solid base for Sheppard’s tenor sax solo. Sheppard’s solo approach—using flourishes, leaving space, and responding to the impromptu suggestions of the rhythm section make this solo, ideally complements the flavor of the arrangement, as well as Donatelli’s beautifully resonant and compelling vocal interpretation.

“A Sleepin’ Bee,” taken at a relaxed medium swing groove, features Donatelli’s warm and delightful interpretation of this unique lyric. Andy Martin follows Donatelli with a powerful, in-the-pocket trombone solo, developing sweet ideas out of the harmonic structure. The personnel for this track lists Andy Martin as the only horn player. However, there is a really great sounding brass ensemble providing padding underneath and counter-lines to Donatelli’s vocals—obviously done by overdubbing.

“Send In The Clowns” used to be an all-too-overplayed song at weddings. Hats off to Donatelli for developing an interpretation that made me forget about the clichés that this tune is all about. Her smooth vocal style, and reworking the melodic content, over a light Latin bossa rhythmic foundation are noteworthy.

Donatelli offers an up tempo swinging rendition of Kurt Weill’s “This Is New.” The highlight of this track is the ensemble interpretation of a bop-influenced melodic line performed ensemble by Donatelli, Sheppard on tenor sax, and Jenkins on trumpet.

This album is the end result of the a gig Donatelli performed three years ago, on which pianist/arranger Tom Garvin was the accompanist. The story is that she developed her vocal abilities on the jazz gigs she played at night over the years, while working in marketing by day. Donatelli apparently had no formal musical training. Yet, Garvin says, in the liner notes, that she was thoroughly at home with the odd time signatures and the reharmonizations of tunes that he served up during the development of their working together. Regardless of what road she took to get here, Donatelli has developed her natural musical gifts, and has created a highly musical recording, on which she sensitively and powerfully shares her soul.

 - Winthrop Bedford

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ArtsJournal.com

Denise Donatelli: In The Company Of Friends (Jazzed Media). Donatelli’s first album has liner notes by Phil Woods. He praises her for the musical gifts she has honed despite her lack of formal training. Woods has never been accused of indiscriminate praise, particularly of vocalists. Donatelli justifies every claim he makes for her. Her “A Sleepin' Bee” is in a class with Mel Tormé’s. Her “Dream Dancing” is a dream. The friends in whose company she sings include trombonist Andy Martin, saxophonists Bob Sheppard and Tom Peterson, trumpeter Clay Jenkins, pianist Tom Garvin, bassist Tom Warrington and drummer Steve Houghton. This woman is a find.

  - Doug Ramsey

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L.A. Jazz Scene, January, 2006

Singer Denise Donatelli performed for a one-night engagement at Charlie O's in December. A good size crowd of her fans came out to enjoy her show. Donatelli is one of the top singers in the L.A. area these days. She is very personable, charming and sings with a good sense of swing. She has a good sense of rhythm, her intonation is impeccable and she really knows how to deliver a song. I was very impressed by her performance and the audience was too.

Donatelli’s debut CD is out now, titled In the Company of Friends, on the Jazzed Media label. The CD was produced and arranged by Tom Garvin and has been getting rave reviews. Saxophonist Phil Woods stated, “All the tunes on the album have been carefully sculpted to show off the brilliant voice that is Miss Donatelli’s. I haven’t heard such vocal artistry since Irene Kral.” L.A. Jazz Scene writer Scott Yanow affirmed, “There is no point in mincing words. This is a very impressive debut by singer Donatelli.”

Donatelli was backed by the first-rate trio of Tom Garvin on piano, bassist Tom Warrington and drummer Joe LaBarbera. They gave her superb backing and contributed stellar solo work all evening. The trio opened with a swinging version of “Stella By Starlight,” with everyone in top form. Then it was Donatelli’s turn as she sang “The More I See You,” done at a medium tempo, which highlighted her pleasing voice and marvelous phrasing. She has a strong sense of improvising. Garvin was just outstanding at the piano. He plays single lines like a horn player, with a good use of space. Warrington swung hard on his solo. Someone sitting at the bar requested “Killer Joe,” but they did “Old Devil Moon” incorporating the “Killer Joe” riff into the song, which made for an interesting version. Donatelli sang two swinging choruses and really let loose. LaBarbara was right in the pocket and Warrington laid down a solid bass groove. This tune cooked! Donatelli showed off her scatting skills at the end, as they used the “Killer Joe” vamp to take the tune out. “Here’s That Rainy Day” was beautifully sung by Donatelli. The very appreciative audience loved her pretty voice and phrasing. Her intonation was right on as she sang with a lot of passion. Again, Garvin added another solo gem and LaBarbera’s brush work added the right touch. This is not an easy tune to sing but Donatelli did an excellent job. No matter what the tempo, she handles every song well. “Social Call,” by Gigi Gryce, picked up the pace and Donatelli handled this swinging piece with a lot of conviction. Other gems were “Dreamer,” “You Stepped Out of a Dream,” “Get Out of Town” and “Send in the Clowns,” among others. “Baubles, Bangles and Beads” closed out a very enjoyable evening of vocal Jazz. Donatelli certainly deserves more recognition, which I’m sure will come as more jazz fans discover her.

 - Bob Comden

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Reviews & Articles   page 1 2 3 4

- Scott Yanow, LA Jazz Scene