Shirley Crabbe at the historic Lenox Lounge in Harlem. photographed by Marc Santos Shirley Crabbe is a remarkably-gifted vocalist. Her agile, luminous voice is ideal for this kind of Romantic and Gospel fare – some of which she has written herself – and she sings with power and great subtlety, superbly matched by musicians from pianist Donald Vega, David Budman, bassist Clovis Nicholas, drummers Ulysses Owens Jr., Alvester Garnett, trumpeter Brandon Lee and the strings quartet of Chris Cardona, Sean Carney, Todd Low and Stephanie Cummins. Miss Crabbe is at her best when she wrings the poetic imagery out of songs and the best of these is Milton Nascimento’s classic “Bridges” with its expressions of longing, hope and joy, a song that has inspired many singers, but none who capture its delicacy with such exquisite tracery as Miss Crabbe. The Brasilian composer’s sense of saudade is perfectly captured in Miss Crabbe’s extraordinarily perfumed version that soars into a rarefied realm. Mr Vega – musical director on this date – is not far behind. The pianist’s ingenious accompaniment here and elsewhere makes him an equal partner in all of the music on which he appears. On other music Miss Crabbe is equally wonderful. Her highly expressive approach to music – clearly coming from the Gospel setting – enables her to dig deeper than most vocalists. As a result even songs such as “I Didn’t Know What Time It Was”, for instance, becomes something wholly her own because Miss Crabbe elongate syllables and alters accents creating vocalastics that become fumaroles of sound, while dissonance, chromaticism and striking harmonic shifts paint the plaintive texts afresh – here ably assisted by Brandon Lee and the high and lonesome sound of his trumpet. Mr Vega’s moments of austere scoring on music such as “Promise Me” and its silences, together with Miss Crabbe’s unique colourations highlight the underlying theme of romantic solitude. Throughout this wonderful disc Miss Crabbe displays the pliancy and expansive range necessary for these intricate song settings with their two-octave breadth, though her voluptuous contralto is far more sensual than chaste. David Budman’s sensitive accompaniment on “Thief in the Night” is a spectacular addition to the song. But he is not alone in making significant contributions here. Bassist Clovis Nicolas is the perfect rhythmic mirror for all of the music as are Ulysses Owens Jr and the Alvester Garnett, who once did likewise for the greatest of them all: Abbey Lincoln. Miss Crabbe is also sensitively accompanied by the strings players who reflect the abject mood of the pieces they are in. Not surprisingly the disc is absolutely one to die for… Track list – 1: Isn’t This a Lovely Day; 2: Taking a Chance on Love; 3: Bridges; 4: The Bridge; 5: I Didn’t Know What Time It Was; 6: Promise Me; 7: The Windmills of Your Mind; 8: And so It Goes; 9: Thief in the Night; 10: Blessed Assurance Personnel – Shirley Crabbe: voice; Donald Vega: piano; David “The Budman” Budway:piano (1, 8, 9); Clovis Nicolas: bass; Ulysses Owens Jr: drums; Alvester Garnett: drums (2, 10); Brandon Lee: trumpet; Chris Cardona: violin; Sean Carney: violin; Todd Low:viola; Stephanie Cummins: cello Released – 2018 Label – Mai Gong Entertainment & Music Runtime – 48:49
Shirley Crabbe possesses one of the finest voices that we’ve heard in some time. You’d never know from hearing her that she almost lost that amazing voice due to a medical issue early on. Bridges, the follow-up to her 2011 release, is a wonderful showcase of the New York singer’s delivery and range. Crabbe takes […]
Genere: Music, Raves
Shirley Crabbe possesses one of the finest voices that we’ve heard in some time. You’d never know from hearing her that she almost lost that amazing voice due to a medical issue early on. Bridges, the follow-up to her 2011 release, is a wonderful showcase of the New York singer’s delivery and range. Crabbe takes on everything here, from jazz standards, to hymns, and even adds a couple of originals in the mix. The fantastic vocals are joined with outstanding musical backing from pianists Donald Vega and David Budway, drummers Ulysses Owens, Jr. and Alvester Garnett, bassist Clovis Nicholas and trumpeter Brandon Lee. The strings section features Chris Cardona and Sean Carney on violins, Todd Low on viola and Stephanie Cummins on cello. The music is beautifully arranged and further enhances Crabbe’s crystal clear vocals for an A-plus production.
Tracks: Isn’t This A Lovely Day, Taking A Chance on Love, Bridges, The Bridge, I Didn’t Know What Time It Was, Promise Me, The Windmills of Your Mind, And So it Goes, Thief in the Night, Blessed Assurance. Please follow and like us:
Jazz interview with jazz singerShirley Crabbe.An interview by email in writing. JazzBluesNews.Space: – First let’s start with where you grew up, and what got you interested in music? Shirley Crabbe: – I was born in New York City and spent half of my childhood growing up in the Bronx (one of New York City’s more infamous boroughs). Just before I turned 11, my parents moved me and my two siblings out to the suburbs. From that point on I have mostly lived just outside of NYC. I cannot remember a time that I have not been interested in music. As kids, my Mom made sure we had piano lessons. I actually studied piano with a rather famous African American teacher named Arnetta Jones. She was also the teacher of child prodigy Philippa Schuyler and one of the first African Americans to be a member of the National Piano Guild. My sister and I also used to write our own musical reviews and perform them for our parents in the front room of our house in the Bronx. After we moved to the suburbs I studied the violin for 6 years and then at 16 began studying voice with a teacher that I now think about almost every day of my life. She made a huge impact on me. Her name was Margaret Franzone. JBN.S: – What got you interested in picking up the jazz vocal? What teacher or teachers helped you progress to the level of playing you have today? What made you choose the jazz vocal? SHC: – I was first introduced to jazz watching Ella Fitzgerald perform her song “A Tisket, A Tasket” in an old Abbott and Costello movie. Ella was young and, I was very impressed with her singing. I would try to imitate her voice and the way she improvised. But I never imagined becoming a jazz singer until I arrived at college and joined a band. I somehow convinced the band leader that I could sing jazz (even though I had never even sung a note of jazz in my life). Needless to say, my introduction to jazz included a lot of on the job training. In my senior year, I joined a vocal jazz group at school and began having solo performance opportunities. After I graduated, I returned to NY and attended graduate school with the ambition of pursuing opera. But, I still had an interest in singing jazz so, I studied opera by day and after class headed downtown to lower Manhattan’s Greenwich Village to learn jazz from the masters. It all started with a workshop called Discovery Voices. The workshop was organized by Cobi Narita, one of NYC’s most ardent supporters of vocal jazz. The classes were led by accomplished and legendary singers Etta Jones, Dakota Staton, Tina Fabrique. My first rhythm section was led by pianist Harold Mabern with Jamil Nasser on bass. What an incredible time for me. It was then that I realized that I really loved singing Jazz. I feel totally free when I sing Jazz. JBN.S: – How did your sound evolve over time? What did you do to find and develop your sound? SHC: – I first had to accept that I am who I am. I’m me, and that’s good. My sound is “my sound.” And letting out the sounds that I hear in my head, my heart, and my voice comes from my personality, my life experience, the way that I feel about myself and the influence of the millions of notes of music that I have heard throughout my life. My challenge now is to keep moving as far away from my comfort zone as I can get so that I can reach a place where I am my most authentic. I have no idea what that will sound like. JBN.S: – What practice routine or exercise have you developed to maintain and improve your current musical ability especially pertaining to rhythm? SHC: – Although it has been many years since I pursued classical music, I still warm up/vocalize like I was as an opera singer. I work on flexibility, good breathing technique, and range. Then I take a short break to allow the voice to “calm down” before I sing jazz. JBN.S: – Which harmonies and harmonic patterns do you prefer now? You’re playing is very sensitive, deft, it’s smooth, and I’d say you drift more toward harmony than dissonance. There is some dissonance there, but you use it judiciously. Is that a conscious decision or again, is it just an output of what goes in? SHC: – Thanks for the kind words. I find this question very interesting because, in my heart, I love dissonance! When I use dissonance, it’s like adding a bit of color to the phrase that I am singing, making that moment more edgy and interesting. It is interesting to hear how others hear me and I am inspired to explore this other side of me. JBN.S: – How to prevent disparate influences from coloring what you’re doing? SHC: – “To thine own self, be true.” Although I definitely care about what others think about me and try to get as much good advice as I can, at the end of the day, I have to embrace my uniqueness, my voice, and my vision. But none of this really works unless you to consistently strive to be humble and learn from your mistakes, all the while focusing on spiritual, emotional and musical growth JBN.S: – What do you love most about your new album 2018: <Bridges>, how it was formed and what you are working on today. SHC: – I love the songs, the strings, the rich sound that the band produced. I was blessed to work with wonderful people who also happened to be great musicians. Vega and Budway are the best! I found the set technically challenging, and the lyrics rich. As they say “that’s how I like to roll!” The whole concept of the album is about Bridges: the ones we build, the ones we cross, and the ones we tear down. Each song is connected along those lines.
JBN.S: – What’s the balance in music between intellect and soul? SHC: – It’s a delicate balance for sure. I definitely get excited about hearing or learning music that is technically challenging or completely cerebral. But at the end of the day, if I am not emotionally stirred by the music, it is of no use to me. I believe that one of the goals of music is to move the listener. Whether they break out in dance or break down in tears. It’s got to speak to their heart and soul. l. JBN.S: – There’s a two-way relationship between audience and artist; you’re okay with giving the people what they want? SHC: – I have learned that not everything that I want to sing is what other people want to hear. I have very esoteric tastes. But just like I said earlier, if the music doesn’t move the listener, what good is it? Ultimately, I believe that what people really want, is to be moved. JBN.S: – Please any memories from gigs, jams, open acts and studio sessions which you’d like to share with us? SHC: – I was once the opening act for Abby Lincoln. We shared a dressing room. Unfortunately, I was a typical fanatical fan – I tried to impress her and talked too much before the show. I even asked her if she wouldn’t mind giving me a copy of one of her signature songs – Strong Man. so that I so that I could sing it too! I don’t know what she thought of me, but I am sure that I drove her crazy. I will never forget that experience. She did a great concert. I later transcribed the song and sang it on my debut album HOME. JBN.S: – How can we get young people interested in jazz when most of the standard tunes are half a century old? SHC: – I just had a great conversation with a 23-year-old guy who curated a nightly jazz radio show while he attended college. I asked him why he loved Jazz so much and he replied, “I love the way the music is like a big conversation between the instruments”. His face lit up when he talked about Jazz. Why is that? He had access to it. He heard it and fell in love. Although good music never dies, it does get forgotten. Here in the states, High School Band Teachers are an important force keeping the music alive and deserve a lot of credit for introducing younger audiences to Jazz. As far as keeping young people interested, I think the music speaks for itself. But, if they don’t have access to the music, they will never know it’s there. Therefore, Jazz musicians, lovers of the music, curators, and governments need to work together to ensure that this music is properly financed, culturally supported and nurtured. JBN.S: – John Coltrane said that music was his spirit. How do you understand the spirit and the meaning of life? SHC: – Wow, this is a great question! For me, music is VERY spiritual. It is the only art form that is mentioned time and time again in the Bible as a personal and collective form of expression. It even soothed the madness of a King. Every time I open my mouth I feel like I am sharing a piece of my soul. I have to decide to be vulnerable and let people in. The joy that I get from it is the way that the music changes people’s hearts. I know how much I have been inspired by what I have heard and the places that the music has taken me. I see my music as a gift that I can give to others. I love that it is a beautiful gift and that it leaves people feeling good. I can relate to Coltrane in that when I sing I am sending my spirit out into the audience. I pray all of the time for the Spirit to sing through me and that others benefit from the time we spend together. JBN.S: – If you could change one thing in the musical world and it would become a reality, what would that be? SHC: – I would have the televised version of the Grammy Awards include Jazz and Classical Music. Each year Jazz musicians take a hit because the biggest advertising event of the night doesn’t include us. JBN.S: – Who do you find yourself listening to these days? SHC: – Oh, my goodness, I listen to everything and anything. I am really digging the NY Voices’ new alum with the Bob Mintzer Big band, “Meeting of the Minds”. Very good stuff. JBN.S: – Let’s take a trip with a time machine, so where and why would you really wanna go? SHC: – I am not sure that I want to go back in time. Life was so hard for everyone back then. African Americans were oppressed, Hitler in the 40’s, slavery, there are no happy times back then. I couldn’t even go back to the garden of Eden for long. I think I would rather go forward and see what the future holds. Having said that, I would like to go to Washington D.C., the seat of the American Government, in the year 2100. Are we OK? Did we manage to fix some of the problems of today? Are we still united? JBN.S: – I have been asking you so far, now may I have a question from yourself… SHC: – I would like to know where YOU would go if you had a time machine to travel in? I would also like to know about your interest in Jazz. When did you know that you loved it? JBN.S: – Thank you for answers. If I had a time machine, I would come back to Kind of Blue! Jazz is my whole life, my blood flows through jazz!!! And everything began very seriously in 2002, when I visited live concerts, festivals and a got sick with jazz! JBN.S: – So putting that all together, how are you able to harness that now? SHC: – Life is good! I am very happy and looking forward to what the future holds. Thank you very much for the opportunity to share my thoughts and my music with you. Interview by Simon Sargsyan
"Now faith is being sure of what we hope for and certain of what we do not see" - Hebrews 11:1 (the Bible) I can honestly say that I have had moments of extreme faith and moments of extreme faithlessness since the day I announced that I was going to do another album. Even today as I write this blog, I am feeling a bit anxious about the preparations, collaborations and coordination that I will initiate in the coming months. Right now, I am securing a date and venue for the recording, reviewing the budget, hiring personnel etc etc. I am truly excited, focused and decidedly faithful on making this album the best that I can produce. There's a lot to do to get ready! And again, I will be blessed to work with some of the best players in NYC. You can be sure that my dear friend and celebrated pianist Donald Vega will be back. I am also including another pianist David Budway on several songs. Because you have so faithfully supported me, this blog will serve to keep you up to date on the latest happenings as we count down to the recording date and eventual release of my second musical baby. I look forward to having you join me on this adventure. Welcome! We are finally going to do this! Look for weekly posts on or about Saturday morning to stay up to date on the latest news.
Last weekend was devoted to attending performances of present and former students. It was a little bit hectic getting to all of the 3 consecutive nights of shows. My weekend is usually all about catching up - cleaning the house, doing career type things, stuff like writing this blog, and finally making sure that I stay on top of the responsibilities of my very much needed "day gig". A great weekend includes working on developing a new skill of writing music and of course, practicing. Driving back home from the last performance, I really thought about my life and how over the last 20 years of mentoring young people, I have tried like those before me to inspire, encourage and lift up "my musical children." Trying to get them to believe in themselves and their ability to sing, dance or act has not been easy. Young people have such little faith in themselves. To simply be the singer that God created them to be seems hard for them to accept. They need someone to believe in them . It made me think about my own journey to believe. Without people like my first voice teacher, Dr. Margaret Franzone, my sister Deborah, brother Steven and my wonderful Mom and Dad, I am sure that I would have ended up in an insane asylum or a rehab facility - worn out and ready to give up. I surely would not have been able to get to the point where I now can say that I make my entire living making, giving, and sharing music. Its been 21 years since Dr Franzone died and I still think of her. Her voice, her kindness, and her love still speaks to me - "I believe you Shirley" One of the many joys that I have as a mentor is knowing that I can be that voice of encouragement that helps a not-so-sure and slightly unbelieving youth become a beautiful musician.
Obituary for MARGARET FRANZONE, 80, A FORMER EDUCATOR Margaret S. Franzone, 80, of West Chester, a former educator, died Saturday, at the West Chester Arms.
In 1969 she received a doctorate in education from Columbia University. After that she worked as a music and art coordinator in the Pearl River, N.Y., school district. She retired in 1978 at the age of 65.
Posted: January 9, 1994
and to this I add...
She changed the life of more than one insecure, young singer and helped them to believe that they had something musical to share with the world.