Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Gail Marten: In Love…Again

Not every singer can easily achieve intimacy; Gail Marten has thoroughly mastered the art. Ms Marten is still endeavoring to attain a similar level of perfection with intonation, yet her latest album is a joy to behold. That is mainly due to her knowing approach to ballads. I don’t mean that corny old line about being able to tell a story. Gail’s strength lies in her deep understanding of the emotions that well-crafted lyrics convey, and above all, her impeccable taste. Her choice of material — agreed to by her accompanist, pianist/arranger Larry Willis — reveals her knowledge of, and appreciation for, the Great American Songbook.

Prime examples are her interpretations of “Skylark,” “Alfie,” “Never Let Me Go” and “Cry Me A River.” What they all have in common is they tend to separate the women from the girls, the professionals from the ingénues, the cabaret hip from the jazz pretenders. Each of those tracks is given a heart-wrenching reading. When Willis alone backs her, Ms Marten is able to plumb the depths and soul of the lyrics in the ideal dramatic atmosphere: rubato, as they do in “If He Walked Into My Life” — to this pair of ears, the high point of the CD. That in no way infers that Willis’ rhythm mates — bassist Herman Burney and drummer Eric Kennedy — fail to carry their weight. Au contraire, Burney’s pedal points on the fifth add just the right touch to “Alice In Wonderland,” a 3/4 bouyancy that Kennedy’s subtle brush work enchances. Both “Where Do You Start?” and “You Must Believe in Spring” reveal Gail’s ability to stretch her high range as well as cope with sudden modulations They also show her preference for the literate eloquence of the Bergmans, whether it be lavished over the changes of Johnny Mandel or Michel Legrand.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published