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René Marie|How Can I Keep from Singing?

How Can I Keep from Singing?

René Marie

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A forty-something singer who retired to raise a family in the Virginia-D.C. area, Marie is making a comeback, and it's a welcome egress. She has a strong individualistic, enjoyable voice which includes parts of Ella, Sarah, Dinah, Betty Carter, Nancy Wilson, and Teri Thornton -- most closely Thornton. She's smooth but never slick, easy on the ears, with a good range and a deep, rich instrument that can easily belt when commanded. Pianist Mulgrew Miller, guitarist Marvin Sewell, and drummer Gerald Cleaver comprise the glue of these sessions, the ultimate musical accompanists and button pushers. Marie tackles some interesting re-arrangements, like the quick samba version of "What a Difference a Day Makes," atypical hard scattish bopping "God Bless the Child," and Sewell's Duane Allman-ish slide guitar during a bluesy swing take of "Tennessee Waltz" with Marie moaning, groaning, and yeah-ing on the bridge. "Motherless Child" starts with Ugonna Okegwo's bass and Marie's voice, then merges to light Fender Rhodes based funk for Nina Simone's tale of the black Aunt Sarah, yellow woman/white fathered Sefronia, tan prostitute Sweet Thing, and brown toughie Peaches on "Four Women." Most in the mainstream, Marie sings with Miller in duet and trio on the ballad "The Very Thought of You," the cute, standard, easily swung "A Sleepin' Bee," and on the edge, the delineated, slow 6/8 "Afro-Blue" with jungle percussion by Jeffrey Haynes, soprano saxophonist Sam Newsome, Oscar Brown's deep lyric, and Marie's nervous oohs. As a songwriter Marie shines on the best cut of the date, "I Like You," a hip, swinging modal piano buoying an exhaustive, extended lyric where she likes this special someone more than just about anything. There's also the light bossa original, not the pop tune, "Take My Breath Away" with Sewell's acoustic guitar, and the Enya penned title track, using various pop, folk, and ethnic nuances with Newsome and hand percussion inserted. All in all this is a credible effort that should pave the way for much more, as Marie is quite capable and talented. Recommended.

© Michael G. Nastos /TiVo

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How Can I Keep from Singing?

René Marie

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1
What a Difference a Day Makes
00:03:43

René Marie, MainArtist - The SWG and ZGS (ASCAP), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

2
Tennesse Waltz
00:06:44

René Marie, MainArtist - ARM Inc. (BMI), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

3
Motherless Child
00:01:27

PUBLIC DOMAIN, MusicPublisher - René Marie, MainArtist

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

4
Four Women
00:06:11

René Marie, MainArtist - Filmtrax Mogull, MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

5
The Very Thought of You
00:05:01

René Marie, MainArtist - Range Road/Quartet Music (ASCAP), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

6
I Like You
00:04:07

René Marie, MainArtist - Stoan Music (SESAC), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

7
Afro Blue
00:06:47

René Marie, MainArtist - Mongo Music (BMI), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

8
A Sleepin' Bee
00:06:21

René Marie, MainArtist - Harwin Music Corp. c/o MPL Comm (ASCAP), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

9
Hurry Sundown
00:06:04

René Marie, MainArtist - Stoan Music (SESAC), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

10
God Bless the Child
00:05:08

René Marie, MainArtist - Edward B Marks Music Co. (BMI), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

11
Take My Breath Away
00:05:25

René Marie, MainArtist - Stoan Music (SESAC), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

12
How Can I Keep from Singing?
00:05:40

René Marie, MainArtist - EMI Blackwood (BMI), MusicPublisher

(C) 1999 MAXJAZZ (P) 1999 Mack Avenue Records II, LLC

Chronique

A forty-something singer who retired to raise a family in the Virginia-D.C. area, Marie is making a comeback, and it's a welcome egress. She has a strong individualistic, enjoyable voice which includes parts of Ella, Sarah, Dinah, Betty Carter, Nancy Wilson, and Teri Thornton -- most closely Thornton. She's smooth but never slick, easy on the ears, with a good range and a deep, rich instrument that can easily belt when commanded. Pianist Mulgrew Miller, guitarist Marvin Sewell, and drummer Gerald Cleaver comprise the glue of these sessions, the ultimate musical accompanists and button pushers. Marie tackles some interesting re-arrangements, like the quick samba version of "What a Difference a Day Makes," atypical hard scattish bopping "God Bless the Child," and Sewell's Duane Allman-ish slide guitar during a bluesy swing take of "Tennessee Waltz" with Marie moaning, groaning, and yeah-ing on the bridge. "Motherless Child" starts with Ugonna Okegwo's bass and Marie's voice, then merges to light Fender Rhodes based funk for Nina Simone's tale of the black Aunt Sarah, yellow woman/white fathered Sefronia, tan prostitute Sweet Thing, and brown toughie Peaches on "Four Women." Most in the mainstream, Marie sings with Miller in duet and trio on the ballad "The Very Thought of You," the cute, standard, easily swung "A Sleepin' Bee," and on the edge, the delineated, slow 6/8 "Afro-Blue" with jungle percussion by Jeffrey Haynes, soprano saxophonist Sam Newsome, Oscar Brown's deep lyric, and Marie's nervous oohs. As a songwriter Marie shines on the best cut of the date, "I Like You," a hip, swinging modal piano buoying an exhaustive, extended lyric where she likes this special someone more than just about anything. There's also the light bossa original, not the pop tune, "Take My Breath Away" with Sewell's acoustic guitar, and the Enya penned title track, using various pop, folk, and ethnic nuances with Newsome and hand percussion inserted. All in all this is a credible effort that should pave the way for much more, as Marie is quite capable and talented. Recommended.

© Michael G. Nastos /TiVo

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