Customer Reviews

Live at Jazz Standard

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In the short time since I discovered Rene Marie, she has now become one of the very, very few artists whose albums I expect anxiously. I just ran to the store as soon as I knew that it had arrived. And, lo and behold, it's another gem. I expected to hear at least 3 or 4 tunes total from her previous 2 CD's, but, in true adherence to the unexpected, she only does one: "How can I keep from singing," and it is of course very different from the album version (if other reviewers already described it, great, but I will not spoil the surprise for you). What stands out the most with Marie is her sense of adventure, the feeling that she is standing on the edge, discovering stuff mere milliseconds before we get to hear it, and being almost as surprised as we are. I thought that this kind of artistry was on the verge of extinction, but thankfully, Rene Marie just plain THRIVES on taking chances and going places you wouldn't imagine, and the effect on this listener is nothing short of breathtaking. Her musical accompanists here are not big Jazz stars, but they definitely are a great match with Rene, and show almost as much sense of abandon as her. She definitely has an ear for the kind of musicians that will be fit for her. If you like Jazz, and Jazz vocals, and you still ain't heard this lady, do yourself and the music world a big favor by supporting her. Otherwise, this musically grim world will only get worse. Thank you.

Rene Marie is one of the most creative artists you probably don't know, and this album proves the point.

Recorded live at the Jazz Standard in New York City and released in 2003, Ms. Marie drives her trio--John Toomey (p), Elias Bailey (b) and Howard Curtis (d)--to artistic heights worthy of Jarrett, Peacock and DeJohnette, or any other piano trio you wish to name. And the four of them together create some really fascinating art.

Consider the album's highlight, a medley of Ravel's "Bolero" and Leonard Cohen's "Suzanne". "Huh? Did I read that right?" you ask. You did. But when you consider the 6/8 march drumbeat to "Bolero" and think about elongating any song to fit that beat, you can picture how Ms. Marie and her mates did that. But the point is: who before Ms. Marie would have even thought to try something like that?

Or consider her cover of the old Rodgers & Hart chestnut, "Where or When." Mr. Curtis taps out a rhythm on the high hat that puts a dream-like quality on the piece. "Where or When" works as a dream-like fog. Why didn't someone think of that before?

Or consider her original, "Paris on Ponce." This is a "Hernando's Hideaway"-style tango with witty, hilarious lyrics by Ms. Marie about Paree, of the kind you'd expect to hear Robert Preston sing from "Victor-Victoria." The bridge is noteworthy for some wild bowing by Mr. Bailey. Then, out of nowhere, the band shifts the tune into a hard 4/4 rhumba with Ms. Marie intoning "funky tango" throughout. (But, one might argue, isn't a rhumba really a funky tango, anyway?!)

She does a similar "out of nowhere" shift to "A Foggy Day", which goes from well-done lounge music to a double-time scat that would have made Mel Torme sit up and take notice.

And lest anyone doubt Ms. Marie's abilities as a singer, take a good listen to her recital-like read of "I Loves You Porgy." This is as dramatic a cover of this classic as any I've heard, including that of the immortal Ella Fitzgerald.

And to put her imprimatur on the whole concert, she does an a capella encore to one of her signature songs, "How Can I Keep for Singing." That's remarkable enough; but she takes the song from a straight read, to a scat, to a slow scat, to a rendition of Belafonte's "Day-O" in a language only she knows but we all understand.

Maxjazz is a small label that doesn't have the budget to put Rene Marie into the public vanguard, a la Blue Note, Impulse! or Verve. But I believe that, sooner or later, talent wins out. On that basis, Rene Marie deserves widespread recognition as one of the most creative of all jazz vocalists, and someday soon she has to get it. RC

Rene Marie has come completely and most compellingly into her own on Live at Jazz Standard! While her voice has always been remarkably versatile, this new CD marks the dawn of a Jazz Diva who emerges fully and beautifully on every level...Her range is beyond belief! From scatting to a capella, Rene's interpretations are flawlessly original! Marie effectively re-standardizes "standards," such as "I Loves You Porgy" which will leave listeners stunned by the intensity and sincerity of it. Marie's cut "Bolero/Suzanne" is extraordinarily delicious...Unbelievable! And track #7, Shelter in Your Arms (written by Marie) is a fine example, not only of Marie's ability to write, but her keen ability to feel, express and evoke strong emotion from her audience. I truly cannot say enough about Marie's mastery of this latest CD. She is a marvel, a legend in the making. Revel in her spirit and be renewed! You'll leave this one in the CD player for sure---if someone doesn't try to borrow it! (Like they did with mine!) Lastly, I need to tip my hat to Marie's musical accompaniment on this work...A fine marriage of voice, spirit and musical adeptness!

Brava Ms. Rene! Brava!

You must hear her vocalese on Bolero. Legend has it that she came to a jazz vocal career after given the ultimatum from her husband "Well, it's gonna be me or this hobby of yours" (realize, of course, I am a reviewer given to be liberal with poetic and verbal licenses).

Suffice it to say she ain't with that dude no more. And that's a good thing for us lovers of jazz lounge vocals like Rene gives. I would also say she is a leader of a new school of jazzists coming from this Max Jazz house, Crossroads/St Louis. Watch out for more of her and this new crop of artists.

Rene Marie has done it again. This album is even better than her first two, and they were both hard to beat. The combination of her outstanding voice, her skillful interpretations of old classics ("I Loves You Porgy"), and unique renditions of "non-jazz" material (creative juxtaposition of "Bolero/Suzanne") make this an album worth buying.

Rene marie is an explorer... reaching, through the vehicle of her arranging and songwriting, to new ground for the jazz vocalist.

Rene' wears many hats. As writer: Shelter in Your Arms (a lovely ballet about finding the right one and being satisfied) and Paris On Ponce (a cute little number about a unique place on Ponce deLeon Ave. in Atlanta> If you go there you would completely understand the song.

Rene' also arranges all but the first song `Deed I Do' which is arranged by pianist John Toomey.

The pairing of Maurice Ravel's "Bolero" (performed acappella) with Leonard Cohen's Suzanne is brilliant. The album is worth it for this 10 minute medley along.

Nature Boy is rearranged by Rene' also....... And I would be hard pressed to describe it, except to say very fresh and likable, and kind of funky.

I gave the album a listen through at home where I could relax and not have to concentrate or be distracted by anything else, and it made me smile for 70 minutes.

And though you might think this captures Rene'.......... You still need to see and hear her live.

rene marie's performance defines what real jazz performance is all about. she brings passion and intensity to each song. rene goes way beyond merely singing the melody. she tells the story! rene takes the listener on a journey deep inside those emotional places that most singers today ignore.

rene's brilliant arrangement of ravel's bolero and leonard cohen's suzanne is absolutely amazing. there are few jazz singers today that bring the kind of imagination to both standards and original compositions the way rene marie does. rene's original composition "shelter in your arms" makes you hold your breath while listening to it. you either know this stuff or you're still got some living to do!!!

if this cd doesn't get a grammy, something is very wrong!

rene is the real thing!!!

Rene Marie is not just a singer, and she's not merely a performer, she's a true artistic genius.

Put this disc in your player. And pay attention.

This singer is in a class with Cassandra Wilson, Dianne Reeves and Vanessa Rubin: smartly arranged music, and an almost Betty Carter-quality to the way she sings within and around a melody. Listen to her work in a quiet place so that you can appreciate the nuances. You won't be disappointed.

Cool, early evening, recording without a lot of audience noise. She was really on that night!