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Fans and Critics Say the Greatest Things About Marlene!
MARLENE VERPLANCK
Jazz at the Field
Haslingdon Cricket Club
23 March 2011
"Marlene VerPlanck treated the audience at Haslingdon's Jazz at the Field club to a musical evening to remember. Club members wouldn't have been surprised because she did just this when she played the club in 2008 and 2009, when the club was called the Rhythm Station and Jazz at the Chambers, respectively, allowing for changes in the venues.
"Accompanied by the Chris Holmes Trio, Chris, piano, Frank Grime bass, and Jimmy Scaife drums, three of the north-west's best jazzmen, she had a unit of real class in support. It was the trio that opened the evening with a nice blues line from Hampton Hawes, Blues The Most. Marlene then made her entrance and proceeded to demonstrate over the next couple of hours what intonation, crystal clear diction, a true sense of time and swing and the art of phrasing is all about. It was nothing short of a master class.
"In addition to all of the above there is her considerable microphone charm and confident manner with her audience as she constantly informs it with snippets of information about the songs and their composers. She presented a nicely balanced programme and featured a number of songs from her new CD, 'One Dream At A Time'. Recorded as recently as December 2010, several of these songs were new, certainly to me, and I found this refreshing. I have come to the conclusion that this could well be one of the reasons why Marlene continues to retain her great enthusiasm that results in a perennial freshness of her art. She continually finds new material, whether newly written songs or unearthing long forgotten gems, that seem to energise her.
"She started with a Kenny Rankin song called Haven't We Met? A nice melody and cute lyrics to match and taken at a lovely tempo, it was a good one to start with. Next was a real bonus, a Bill Evans composition In April. It has had words written for it by Roger Schore and I feel that if Marlene's recording of this one got some reasonable air-play we could well start to hear other singers performing it. The late American pianist/composer Cy Walter, a one time accompanist to Mabel Mercer, wrote Some Fine Day in 1939 originally calling it One Fine Day but then retitled it Some Fine Day in 1953. This is a song, words and music, that one feels could have been written with Marlene in mind. Marlene was in complete control with the contours of the melody and there was some lovely sympathetic support from the trio.
"There were many memorable moments during the evening with Marlene swinging through numbers like the old Earl Hines, George Carpenter, Louis Dunlap song, You Can Depend On Me, which was enhanced by a splendid solo by Chris Holmes and the exciting exchange of fours from Frank Grime and Jimmy Scaife; the Vincent Youmans, Edward Eliscu and Gus Khan two song medley Flying Down To Rio and The Carioca. It was interesting to hear the witty, amusing rhyming lyrics on Flying contrasting with the rhythmic vitality of The Carioca; and the beautiful swinging delivery, such great time, of the Burton Lane/Yip Harburg song That Old Devil Moon.
"Then she suddenly said 'now for a song by a man who only wrote hits - Irving Berlin' and went straight into The Best Thing For You that featured some swinging piano immediately following it with another 'and here's another man who only wrote hits - Cole Porter'. She sangWhy Shouldn't I? complete with the verse, it was delightful and followed this with a beautiful performance of I've Got You Under My Skin.
"In a performance that was filled with so many good things about the true art of singing, as though she was singing to each individual in the audience, there were two highlights. The Heather On The Hill and But Beautiful. The former, a Lerner and Loewe song from Brigadoon complete with the verse, was a wonderful interpretation, truly. It was a superbly crafted arrangement with a marvellous ending. This was Marlene at her very best, giving such a personal reading. A difficult song to sing, she made it seem so effortless.
"But Beautiful was written by Jimmy Van Heusen and Johnny Burke for the film 'Road To Rio'. It was made famous by Bing Crosby, however, I would say that dear old Bing never sang it as well as this. Marlene's phrasing exuded warmth and that tricky change of key that she handled so seamlessly. It was a pleasure to hear the marvellous verse which set up the chorus perfectly. This was exceptional.
"As one can imagine, all the songs performed were subject to well detailed arrangements. To see the bassist and drummer, as well as the pianist reading their way through some tough charts while retaining that relaxed looseness that makes for the great rhythm section and with scope for soloing was truly heart warming. This was real teamwork.
"Amongst all her other attributes it would be true to say that Marlene is a true student of the art of the lyric. One can imagine, particularly with the new songs that she features, that they have to pass a severe scrutiny test to satisfy her so it was no real surprise that she sang three songs that had lyrics by Johnny Mercer. Trav'lin' Light, This Time The Dream's On Me, andDearly Beloved, with melodies by Trummy Young and Jimmy Mundy, Harold Arlen and Jerome Kern respectively. On the last named song she was accompanied for the first chorus by just the double bass - it sounded so right. She sang another song by Jerome Kern, a charming thing called What They Say Is True and told a little story that the words were written by Oscar Hammerstein who took on the challenge for a bet, that he couldn't write a song as sophisticated as Cole Porter.
"Other songs included three written by Marlene's late husband Billy, Quietly, a charming song that has words by Ray Hoffman; and two with words by Leon Nock, as As Far As I'm Concerned and the title song of the CD One Dream At A Time; a swinging up-tempo treatment that had some great 8's from Frank and Jimmy, of What A Difference A Day Made, composed by Maria Grever with English words by Stanley Adams.(Grever originally wrote the song in Spanish); and an old Clarence Williams, George Sanders and Joe Hubert number that Billy Eckstine used to sing, I'm Falling For You, with Marlene telling us how she used to admire Billy sing this one.
"I was glad that she included two songs that I suspect have rapidly become favourites of everyone. The Marvin Fisher / Jack Segal classic, I Keep Going Back To Joe's, as through she was letting us in on a personal secret; and the Party Upstairs by Ronny Whyte and Francesca Blumenthal. She closed her performance swinging through Edward C. Redding's The End Of A Love Affair and left the stand to a well earned, rousing reception.
"It was a marvellous performance from Marlene and she was quick to acknowledge the contribution of Chris Holmes, Frank Grime and Jimmy Scaife. The classiest of class acts, we had been entertained by a true star one who has spent a lifetime honing her craft, and continues to do so." -- Bernard McAlinden, In Tune International, June 2011
Latest Raves for "One Dream at a Time"
"One track at a time, One Dream at a Time is growing on me, and time with Marlene VerPlanck is well spent. I say "growing on me" not because her talents are new to my ears or record shelf (quite the opposite), but because the subtle aspects of this CD come out more on repeat listens. The opener, "Haven't We Met?," met with some initial resistance from me with its usual tempo switched and the unwelcome (to me) jazz organ. On the first rounds of listening, the well-rounded singing and bright tone always shown, shone, but almost blindingly outshine other fine aspects. Push "Repeat Play." Some gentle, unfamiliar selections don't knock one's socks off right away, but tug at them gently; I was, eventually, barefoot.
"As a vocalist, her straight-to-the-song's point and pointing up delicious rhymes instead of pointing, "Look at me!," make her decidedly non-diva. Mellifulously musical, mostly merry, Marlene's mega-reliable when it comes to crisp diction, all the while coming off as just the nicest person you could meet. Nice and precise and crisp: ah, she must eat Nice Krispies for breakfast. In a snap, the crack musicians are at her side every moment, whether she's scatting or batting around oldies like a medley of "The Carioca" and "Rio" with her trio. Ever-impressive right-touch pianist Tedd Firth—present on this and six more of the 15 tracks—goes to town on jazzy swingers or goes to the heart on ballads.
"Partner in life and music, J. Billy VerPlanck, may be gone, but he's represented by some classy arrangements and three graceful melodies the lady gets to here. They include the setting of Leon Nock's pensive mature lyric about looking back wistfully and looking ahead with a determination steadily growing, ending the CD with an ultimately serene Marlene." -- Rob Lester, Cabaret Scenes, October 2011
"It's such a treat always to write about Marlene VerPlanck. She isn't fooling around here in her new delightful 16 song biscuit with her appealing way of getting real, real close to the melody and closing in on the lyrics. A creative blazing Hammond organ by Ed Vodicka starts things just right on with "Haven't We Met" (Rankin). lt's wildly high noted all the way. What a great ride. The very catchy "ln April" (Schore) follows. lt's based upon a masterwork of a 1978 Bill Evans melody. Mr. Schore's creative rhymes are a welcome tribute to the art of close-up romantic experiences.
"l'm Falling For You" (Hubert/Williams/Sanders), the old Billy Eckstine swooner, is delicious. Ed Vodicka pushes things along with a powerful Hammond organ solo throughout. "Rio" and "The Carioca', (Kahn/Eliscu/Youmans) are combined. They just dazzle - what energy! Fred Astaire eat your heart out. With verse intact "The Heather On The Hill" (Lerner/Lowe) sounds as fresh as a daisy. Marlene has a knack of bringing brand new elements to often sung songs. Here the song from "Brigadoon" sounds sparkling brand new. "But Beautiful" (Burke/Van Heusen) is a surprise. Romantic treats like this one continue to amaze. Marlene meaningfully caresses every word. I've always adored Miles Davis' jazz non-vocal version of "Moon Dreams" (Mercer/Magregor). Here, with the Johnny Mercer lyric, the song takes on a spectacular new meaning. with Marlene's long held notes it's as excitingly idyllic as it can get. These are just some of the highlights of this rewarding CD." -- Dan Singer, In Tune International
"Even by this singer's very high standards, this is an exceptionally good CD. As so often happens, she has taken great care in her selection of songs, finding some underused standards, some forgotten gems from the past, a few delightful originals, and a handful that started life in or close to the jazz world. To all of this material she brings the musical expertise and understanding that has marked her work for many years.
"This is the first album Marlene has recorded since the death of her husband, Billy VerPlanck, and there are touches throughout, real and recalled, that reflect his importance in his wife's musical life as her career-long arranger.
"Two songs, As Far As I'm Concerned and One Dream At A Time, were composed by Billy for lyrics by Leon Nock and discovered by Marlene after her husband's death. Another of Billy's songs is Quietly, with Ray Hoffman's lyric.
"Also fulfilling expectations is Marlene's choice of accompanists. All three trios are excellent, with good solos from all, especially the pianists, while the presence of an organ on three tracks brings an unfamiliar but very well-realised element to the singer's work.
"As for Marlene's vocal sound, the bell-like freshness of her voice is as good as it has ever been and she brushes aside the decades with ease. She sound so fresh, in fact, that it is tempting to think that there might be a Dorian Gray-like tape in the attic. But that suggests a pact with the devil and she is much too nice for that.
"This CD can be very warmly recommended, especially to the Friends of Good Songs, who might most readily find it through marleneverplanck.com." -- Bruce Crowther, Jazz Journal
"Marlene VerPlanck has spent much of her career singing in the studios: How many vocalists have backed up both Frank Sinatra (most famously on "Trilogy") and Kiss? It's all the more impressive that she's also created an ongoing discography and that she sings frequently in local clubs. Ms. VerPlanck has the kind of sweet, strong voice and straight-ahead approach that records well, and sounds just right on a wide range of excellent songs that are slightly to the left of the really well-known standards. Her latest album (number 21), "Once There Was a Moon," is filled with obscure gems to delight a songhound's heart, like Johnny Mercer's rarely heard lyric to the Miles Davis classic "Moon Dreams," and a lovely new text for Bill Evans's "In April." She also consistently corals the best musicians in the city, like pianist Tedd Firth and drummer Sherrie Maricle's trio." -- Will Friedwald, Wall Street Journal
"Back in the heyday of Tin Pan Alley, song pluggers wanted singers who could put across their number, either in person or on demo recordings. Marlene VerPlanck would have been a perfect vocalist for that job, since her art is all about the song, emphasizing its strengths and subtleties while always honoring the composer’s intentions. No writer could ask for a better, or truer, interpreter of his or her music than VerPlanck, for whom the song is the raison d’être, the object of her art.
"One Dream At A Time is the first CD she’s done since she lost her husband and musical collaborator, composer-arranger Billy VerPlanck. But six of the CDs 15 tracks boast his arrangements, including three pieces for which he also wrote the music. For the most part, Marlene sings with the piano trio format she favors at gigs. But in a departure recalling her early days, one of the trios features Ed Vodicka playing B3 organ on three tracks, with the organ lending the music a big band heft.
"Most of the tunes are from the classic standard songbook, with Billy VerPlanck’s originals sharing a similar aesthetic. Yet there are few chestnuts here, and that’s a large part of this collection’s appeal. For instance, Ira Gershwin and Arthur Schwartz are represented by a lesser-known gem from their collaboration: “There’s No Holding Me” (“if I can keep holding you”), a song VerPlanck personalizes by deftly making the word “climb” rise melismatically. And VerPlanck’s miraculously ageless voice- there’s still a vernal lilt in her swing phrasing – nails the leaps and shifts in the melody of “Moon Dreams.” A piece perhaps best known as an instrumental arranged by Gil Evans for the Birth of the Cool sessions, but outfitted, as Marlene reveals here, with a fetching lyric by Johnny Mercer. While VerPlanck stays close to the written contours of less familiar songs like Cy Walter’s “Some Fine Day,” she puts her own, jazzy spin on numbers like “What A Difference A Day Made,” reshaping the melody in her second pass at the refrain. But from start to finish, this album is an exemplary primer on the art of the song." -- George Kanzler, Hot House Jazz Magazine, May, 2011
"Vocalist Marlene VerPlanck's new CD should delight her fans and garner new ones. With an impressive background as a studio and advertising commercials singer and concert and club tours in the US and UK, VerPlanck is one of the most welcome interpreters of the popular songbook. Blessed with precise diction and the love of a good lyric, VerPlanck's voice is clear, pure, young and remarkably rangy. And once again, she is treating her listeners to a fine collection of not overdone material as well as some lovely originals by her late husband - composer and arranger Billy VerPlanck. Working in a trio setting, VerPlanck uses various combinations of personnel: pianists Tedd Firth, Tomoko Ohno and Ed Vodicka (also on organ), bassists Steve LaSpina and Jennifer Leitham and drummers Sherrie Maricle and Ron Vincent.
"The surprise addition of Hammond B3 organ comes at you on the first track – Kenny Rankin's "Haven't We Met" – and Vodicka's work on this and a bluesy "I'm Falling For You" is notable. Several items are outstanding on this offering: Billy VerPlanck's medley arrangement of "Flying Down To Rio" combined with "The Carioca" (from the Fred and Ginger movie), a combination VerPlanck does quite often live, swung here with Firth, LaSpina and Vincent; an original by Billy entitled "Quietly" that has the feel of the '50s; a wistful rendition of Lerner-Loewe's "The Heather On the Hill" from Brigadoon featuring Firth's pretty fills and some fine bowing by LaSpina and a finger-snapping "What A Difference A Day Made" that gives Ohno some nice exposure and includes a lively dialogue between Maricle and Leitham.
"Most of the collection is material from the '30s, 40s and '50s when there were verses to songs, lyrics that could be understood and storytelling to be done. This is VerPlanck's bailiwick, an area she knows and loves and continues to call her own. It is a piece of nostalgia that needs to be kept alive and VerPlanck is surely one of the best vocalists to keep it going. -- Marcia Hillman, New York City Jazz Record, May, 2011
"One Dream at a Time (Audiophile 340) is the title of the new album by Marlene VerPlanck, and it lives up to the high standards that she has set with her many previous releases. VerPlanck has always had a passion for good songs, whether well known standards, gems from the past that have been largely overlooked, or new tunes, often ones composed by her late husband and musical director Billy VerPlanck. Whatever she sings, you can be confident that you will hear a performance that is tasteful, musical, lyric centric, and spot on.
"There are three different combinations of musicians backing her on the album. Tedd Firth on piano, Steve LaSpina on bass and Ron Vincent on drums are the team on seven tracks. Pianist Tomoko Ohno, bassist Jennifer Leitham and drummer Sherrie Maricle comprise the band on four tracks. The other four selections have Ed Vodicka on piano or organ, and he is joined by Leitham and Maricle. All of these combinations are superb.
"As to the songs, we hear some that are familiar, "Haven't We Met, "You Can Depend on Me," a medley of "Flying Down to Rio/The Carioca," The Heather on the Hill," "What a Difference a Day Made" and "But Beautiful"; a few that would most likely be recognized by the hard core song mavens, "In April," a tune by Bill Evans with terrific lyrics by Roger Schore, Cy Walter's "Some Fine Day," "I'm Falling for You," classic Billy Eckstine/Earl Hines selection, "There's No Holding Me," a rarity from Arthur Schwartz and Ira Gershwin, Johnny Mercer and Chummy Magregor's "Moon Dreams," "Invitation to the Blues"; and three new tunes by Billy VerPlanck, "Quietly," with lyrics by Ray Hoffman who wrote the fine liner notes for the album, "As Far as I'm Concerned‚" and "One Dream at a Time," the latter two with words penned by Leon Nock. Marlene VerPlanck has contributed another sparkling album to her impressive catalog." -- Joe Lang, New Jersey Jazz Magazine, June, 2011
The UK 2011 tour was the best yet!
Here's what the critics said:
Before you read these things you may still catch the one hour radio broadcast with Walter Love on Jazz Club, BBC Ulster. It's on the internet.
And, Marlene and Cleo Laine in a duet? Yes! You had to be there. It happened at The Stables in the UK. The audience went wild!!
March 26, Cinnamon Club owner
"So much energy, vibrancy and a great choice of songs. Our customers went home very happy." -- Neil HughesMarch 6, @ Ronnie Scott's in London
"Sometimes just one phrase can open the window onto a singer's whole lifetime of musicality, stagecraft and accumulated wisdom" -- Sebastian Scotney
You can find the entire review here.Dereham News, March 19, 2011
"Marlene VerPlanck represents the very best of her genre, musicality, phrasing, interpretation, diction are top drawer." -- David WakefieldFrom Sinatra Music Society Dublin
"Marlene could teach a thing or two to any upcoming singer as regards to phrasing or diction. She is a tireless performer." -- Hon. Sec. Chris Hitchcock, Dublin
Latest CD Raves from Bruce Crowther of Jazz Journal International
These CDs are available for purchase here.
Still More Raves...
"It never fails. Whenever Marlene VerPlanck appears on the small, intimate stage of Le Dome at the Manor in West Orange she immediately begins a musical love affair with her audience.
"And that is exactly what happened on the evening of Oct. 16 — her 18th cabaret year at the Manor — when the petite bundle of extraordinary talent brought back memories and chills in her “Tribute to Johnny Mercer.” VerPlanck was the desired dessert that evening.
"Assisting her, with equal love, were here talented trio, Ted Firth at the piano, Rich DaRosa, drums, and Steve LaSpina, bass. VerPlanck, looking absolutely beautiful in a lovely gown, presented Oscar-winning and nominated songs written by Mercer, some of which he wrote with others, including Warren, Van Heusen, Arlen, Kern, and Hampton.
"Numbers that especially mover her loving audience were highlighted by 'The Days of Wine and Roses,' 'Moon River,' 'Jeepers, Creepers,' 'I Remember You,' 'That Old Black Magic,' 'Fools Rush In' and 'Early Autumn.' " -- Bea Smith, The Essex Journal
"With her pure, clear voice and thoughtful, careful phrasing, Marlene VerPlanck is the perfect interpreter of Mercer's songbook. His songs are musical gems--perfect little emotional moments that beautifully express the giddy joy of first love ('Jeepers Creepers,' 'Namely You'), the dream of love ('I Thought About You,' 'I Remember You'), the frustrations of love ('Something's Gotta Give,' 'I Wanna be Around') and just plain fun ('That Old Black Magic'). The songs are called 'standards' for a reason: These classic numbers are the groundwork not only for contemporary jazz, but for the modern American Songbook. And just when you think you've heard every twist and gimmick a singer can do to a song, the VerPlancks come along and strip away everything unnecessary, leaving the pure music and emotion to remind us of why the number was--and is--so beloved." -- Jena Tesse Fox, Cabaret Scenes
"With Johnny Mercer’s centenary year coming up in 2009, there will surely be several concerts and events dedicated to his memory. There was a preview of this celebratory period when Marlene VerPlanck took the stage at Le Dôme in South Orange on October 16. The powers that be will be hard pressed to find a more glorious and heart felt remembrance of the lyrical genius of Mr. Mercer from Savannah than the one presented on this evening by VerPlanck and her trio of Tedd Firth on piano, Steve LaSpina on bass and Rich DeRosa on drums.
"It is an oddity of the world of vocalizing that certain singers seem to have a natural affinity for the output of a particular songwriter, and Marlene VerPlanck is probably the premier interpreter of the lyrics of Johnny Mercer. In 1979, VerPlanck made an album titled Marlene VerPlanck Loves Johnny Mercer (Audiophile – 138). It was released on CD in 1988 with some additional tracks bring the program up to 21 selections, and has continued to be one of the best selling albums on the label. Her show at Le Dôme included 16 of the songs that were on the album plus an additional nine tunes, including four in her opening medley." -- Joe Lang, Jersey Jazz. Magazine
"It was (Marlene VerPlanck's) first visit to (London's Spice of Life) Jazz Club and, if ecstatic audiences are anything to go by, it won't be her last. The cognoscenti, discerning and enlightened, were out in force, but I was also struck by the number of thirty-somethings dotted around the room who appeared to get as much of a bang as I did myself, which is saying something." -- Leon Nock, "A Nightingale Sang in Cambridge Circus," Perfectly Frank, UK
"Most singers look for songs that do the most for them, whether displaying their skills as a belter or their range as dramatic interpreters. It's only logical, of course, and no one could be faulted for focusing on what a song can do for them. Marlene VerPlanck, on the other hand, is a rarity among modern singers: rather than looking for what a song can do for her, she focuses on what she can do for a song. In a recent visit to Barry Levitt's Jazz Workshop & Brunch at Iridium Jazz Club, VerPlanck performed a wide range of songs and styles, demonstrating her versatility and reminding everyone in the room of why she's one of modern Jazz's greatest treasures." -- Jena Tesse Fox, Cabaret Scenes
"Tempting as it is to suggest that ever-dependable Marlene VerPlanck has done it again, serving up yet another platter of luscious standards and rarities, truth is she did it eight years ago. Produced, arranged and even promoted by hubby Bill VerPlanck, this collection [My Impetuous Heart] of 18 tracks (with the VerPlancks it's always about quantity and quality) was originally recorded with the Hank Jones Trio and released in 2000." -- Christopher Loudon, Jazz Times
"Among Ver Planck's entrancing skills is the deft clarity with which she expresses these lyrics while breezily nailing their emotional irony. Charmer Ver Planck delivers it all with a total command of the jazz idiom in a expressive soprano thats filled with boundless warmth, fun and optimism." -- Andrew Velez, AllAboutJazz.com
"Start with superb pitch control and enunciation, add in musical sensitivity and a great respect for lyrics, an eagerness to explore classic songs old and new, striking arrangements by Billy VerPlanck, impeccable and sympathetic accompaniment, and what do you get? Marlene VerPlanck interpreting American jazz and popular songs in a sparkling performance as classic and classy as art song." -- John Edward Hasse, author of Beyond Category: The Life and Genius of Duke Ellington and editor of Jazz: The First Century
"VerPlanck has entranced audiences with her singing and her scatting at Le Dome every year. It appeared that she was singing directly, one-on-one, to each person in the audience. She reaches into the depths of one's soul. It's a great feeling!" -- Bea Smith, syndicated columnist, Worrall Community Newspapers
"Marlene is unpredictable and beyond category." -- Dan Singer, Singer's Singers
"Marlene performed songs ranging from those of Francesca Blumenthal and Ronny Whyte to Johnny Mercer and Doris Tauber. From her latest album Now!, she offered the Blumenthal/Whyte compositions 'The Party Upstairs' and 'Yes!' Sinatra was not forgotten with a lilting 'All My Tomorrows,' with Marlene singing most sincerely and lovely. Drawing on her love and admiration for Johnny Mercer, she sang a beautiful 'Drinking Again' that was pure and brilliant. Another gem was 'I Keep Going Back to Joe’s' by Jack Segal and Marvin Fisher and again a treat. All in all, a most delightful evening!" -- Tom Coyle, Sinatra Society Magazine, Dublin, Ireland (reviewing Marlene's appearance at The Concord Club in Eastleigh, UK)
"An evening with Marlene VerPlanck is a musical experience to be savoured and remembered while we await her next visit to these shores." -- Sheila Tracy, Crescendo & Jazz Music (UK)
"Commanding by friendly and warm stage presence, class, style, exquisite taste, unmatched technique, experience, creativity, diction perfection, exemplary phrasing, superb choice/selection of first class material, perfect harmony and esthetic sublime equilibrium between music, vocal projection, the elan she infuses in the depth of the lyrics and the breathing of rich and delicate metamorphosis of ballads define the magic and super talent of this magnificent singer. This woman is an institution. A monument to excellence. If you are a buff of credentials, accomplishments and exclamation marks, don't go further. Freeze. Steer your Martini, get comfy and dash into the magical world of Marlene VerPlanck." -- New York Monthly Herald
"Marlene VerPlank is a straight ahead singer. She has a wide vocal range, good diction and a pure quality. Paying attention to the lyrics, she sings her stories believably with a jazz-oriented musical background. VerPlank has been out there singing long enough to know her audience and deliver the kind of performance which communicates with and pleases them." -- Marcia Hillman, ejazznews.com
"I was in attendance (at The Iridium on Broadway) and caught the marvelous Marlene VerPlanck. After countless gigs and many albums, Marlene sounds as fresh as ever, relishing good melodies old and new. She sounded especially youthful and vibrant the night I popped in. Selections from her most recent CD Now! are terrifically energized, especially 'The Party Upstairs.' (Just days later, this fun collaboration of Ronny Whyte and Francesca Blumenthal was announced as a nominee for Song of the Year by MAC.) Marlene, whose love for quality songs is infectious, also shines on classics in a 'romance' medley, including some indestructible standards. A couple of thoughtful detours about drowning one's troubles in drink and dark bars ('Drinkin' Again' and 'I Keep Going Back to Joe's') seem right at home as customers sip, but it's almost impossible to feel gloom when sunny Marlene is in the room." -- Rob Lester, Talkin' Broadway
"Last week Marlene VerPlanck had two concerts here in Florence (Italy at the Caruso Jazz Caf. Both evenings were wonderful. A trio of very good local musicians backed her on a series of standards arranged by Billy VerPlanck and found themselves on the same wavelength as Marlene to make some beautiful music. Marlene's voice is amazingly youthful and fresh. The way she phrased and shaded the meaning of each sentence was perfect, every word was pronounced with great care, never a single syllable tossed out casually, and everything had a pathos that was always done to perfection, with a lovely balance of musicality and drama. Needless to say, the audience loved her!" -- Stefano Nuzzo, Songbirds.com
"Chanteuse Marlene VerPlanck is one of these hidden American national treasures. We're so lucky to have her ilk in that the American Songbook (as a result of her vocal efforts) remains integral. And, she keeps us abreast of those compositional gems, we as her listeners may not be privvy to. ...Marlene has that ability to leap up & down her vocal register brilliantly delivering her song in a facile, pure & almost bell-like tone. I characterize her talent thus as a diverse yet intelligent exercise of infectious energy, clarity, melody rhythm & harmony. The jazz/pop idiom must not other than hold her dear...." -- George W Carroll, The Musicians' Ombudsman, from The Cabaret Exchange
"...VerPlanck's long, rich, singing career (is) built around a lovely voice and refined musical skills. With a strong, clear delivery, perfect diction and a penchant for plucking strings of notes out of the stratosphere, she makes a difficult art seem effortless. Speaking of Love finds her, amazingly, as the height of her abilities. Among the delights are the bouncy 'Jamaica Rumba' and 'Little Jazz Bird.' They showcase VerPlanck's light, dexterous voice and the pure joy she takes in singing. Her emotional pitch is perfect on an abridged 'I'll Take Romance,' from a 'Romance Medley.' It is poignant and hopeful and without a trace of cynicism." -- George Garmhausen, Newark Star-Ledger
Photographs and Memories
Here's a slideshow with some photos of Marlene and her fans and friends. Click on the link to see the first slide and then click the play arrow at the top of the photo to start the show. You can use the VCR controls at the top of each image to run or pause the show. View photos here.
Other Links For the Music Enthusiast...
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