Jazz Album Review: Dave Miller and Rebecca DuMaine"s "The Consequence Of You"
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Rebecca DuMaine was raised on jazz. Her father, Dave Miller, is a pianist who lulled her to sleep as a kid with arrangements of piano greats Bill Evans and George Shearing. The Great American Songbook was her childhood soundtrack and her teenage years were immersed in jazz, such that her first gig happened with her Dad at her side at the venerable San Francisco outpost of Trader Vic’s. Music was to take a back seat to acting, though, because “music was my Dad’s thing,” says DuMaine, “so I had to do something else.”
Acting became her first artistic career. A degree in theater from Duke University in North Carolina and a Master’s Degree in acting at the Mason Gross School at Rutgers in New Jersey preceded many years of acting in New York and teaching at the city’s preeminent academic outlets, including Columbia, Pace and New York University. Dad’s visits to the East Coast always included guest spots at joints like the Rainbow Room while Half Moon Bay was a favorite stop for DuMaine and her Dad when she visited the West Coast.
It wasn’t until DuMaine moved back to the Bay Area that she gave serious consideration to making music full time. With a few gigs on her father’s bill, she caught the bug and the pair began recording. Two releases on Summit Records -- billed as The Dave Miller Trio featuring Rebecca DuMaine -- arrived in 2011 (Deed I Do) and 2013 (Better Than Anything). This May welcomes a third Miller/DuMaine adventure, The Consequence Of You.
But, does the world need another recording of Great American Songbook tunes?
After all, now that Bob Dylan tipped his hat (however poorly) to Sinatra, isn’t it time to give the songbook a rest? The Jazz Society of Portland thinks not, as they are duly quoted on the back of the disc that “there’s always room for gimmick-free, dependable, swinging piano jazz.”
Joined by longtime Miller trio mates Mario Suraci on bass and Bill Belasco on drums, Dad and daughter open the dozen song set with something a little different: the King/Young/VanAlstyne piece “Beautiful Love.” DuMaine refers to the melody as haunting, one that keeps her awake at night, and makes admirable work of her interpretation. Belasco taps lightly, Suraci is tasteful and guitarist Brad Bleuthe -- a new yet uncredited addition to the ensemble -- adds a favorably swinging texture to the proceedings.
A highlight of the record is DuMaine’s lovely take on Leslie Bricusse and Anthony Newley’s “Pure Imagination,” found originally in the film Charlie and the Chocolate Factory. DuMaine’s version is unadorned and rightfully so, letting the lyrics and melody speak for themselves. Her subtlety owes homage to her acting background, knowing how to let good material make its own magic. Jobim’s “One Note Samba” is also quite fine, delivered with delicacy and a knowing smile. Bleuthe’s contribution here is also notable: the samba almost requires a guitar to manage the rhythmic textures of the style.
Jimmy McHugh’s “Exactly Like You” dances along spritely on the way to a visit with Harold Arlen and E.Y. Harberg’s “Down With Love.” Originally introduced by Vivian Vance in 1937 for the Broadway musical Hooray For What! and hence covered by the likes of Garland and Streisand, the song certainly poses a challenge for any singer. But DuMaine proves herself up to the task, carrying the tune straight to the edge of the stage. All four of the quartet’s members get a taste here, too, with deft ease.
Though DuMaine shows admirable skill at the scat, “Put On A Happy Face” is just a little too played to inspire much interest. The Bob Haymes/Marty Clark number “They Say It’s Spring,” on the other hand, is a sweet slice of fruit from the 50s that DuMaine delivered with sparkling good cheer. Dad plays a strong bit of piano here, bringing a nice touch of vaudeville to the piece.
So, yes, there’s always room for this sort of thing, especially when it’s delivered with the dramatic moxie of a multi-talented singer like Miss Dumaine.
Rebecca DuMaine was raised on jazz. Her father, Dave Miller, is a pianist who lulled her to sleep as a kid with arrangements of piano greats Bill Evans and George Shearing. The Great American Songbook was her childhood soundtrack and her teenage years were immersed in jazz, such that her first gig happened with her Dad at her side at the venerable San Francisco outpost of Trader Vic’s. Music was to take a back seat to acting, though, because “music was my Dad’s thing,” says DuMaine, “so I had to do something else.”
Acting became her first artistic career. A degree in theater from Duke University in North Carolina and a Master’s Degree in acting at the Mason Gross School at Rutgers in New Jersey preceded many years of acting in New York and teaching at the city’s preeminent academic outlets, including Columbia, Pace and New York University. Dad’s visits to the East Coast always included guest spots at joints like the Rainbow Room while Half Moon Bay was a favorite stop for DuMaine and her Dad when she visited the West Coast.
It wasn’t until DuMaine moved back to the Bay Area that she gave serious consideration to making music full time. With a few gigs on her father’s bill, she caught the bug and the pair began recording. Two releases on Summit Records -- billed as The Dave Miller Trio featuring Rebecca DuMaine -- arrived in 2011 (Deed I Do) and 2013 (Better Than Anything). This May welcomes a third Miller/DuMaine adventure, The Consequence Of You.
But, does the world need another recording of Great American Songbook tunes?
After all, now that Bob Dylan tipped his hat (however poorly) to Sinatra, isn’t it time to give the songbook a rest? The Jazz Society of Portland thinks not, as they are duly quoted on the back of the disc that “there’s always room for gimmick-free, dependable, swinging piano jazz.”
Joined by longtime Miller trio mates Mario Suraci on bass and Bill Belasco on drums, Dad and daughter open the dozen song set with something a little different: the King/Young/VanAlstyne piece “Beautiful Love.” DuMaine refers to the melody as haunting, one that keeps her awake at night, and makes admirable work of her interpretation. Belasco taps lightly, Suraci is tasteful and guitarist Brad Bleuthe -- a new yet uncredited addition to the ensemble -- adds a favorably swinging texture to the proceedings.
A highlight of the record is DuMaine’s lovely take on Leslie Bricusse and Anthony Newley’s “Pure Imagination,” found originally in the film Charlie and the Chocolate Factory. DuMaine’s version is unadorned and rightfully so, letting the lyrics and melody speak for themselves. Her subtlety owes homage to her acting background, knowing how to let good material make its own magic. Jobim’s “One Note Samba” is also quite fine, delivered with delicacy and a knowing smile. Bleuthe’s contribution here is also notable: the samba almost requires a guitar to manage the rhythmic textures of the style.
Jimmy McHugh’s “Exactly Like You” dances along spritely on the way to a visit with Harold Arlen and E.Y. Harberg’s “Down With Love.” Originally introduced by Vivian Vance in 1937 for the Broadway musical Hooray For What! and hence covered by the likes of Garland and Streisand, the song certainly poses a challenge for any singer. But DuMaine proves herself up to the task, carrying the tune straight to the edge of the stage. All four of the quartet’s members get a taste here, too, with deft ease.
Though DuMaine shows admirable skill at the scat, “Put On A Happy Face” is just a little too played to inspire much interest. The Bob Haymes/Marty Clark number “They Say It’s Spring,” on the other hand, is a sweet slice of fruit from the 50s that DuMaine delivered with sparkling good cheer. Dad plays a strong bit of piano here, bringing a nice touch of vaudeville to the piece.
So, yes, there’s always room for this sort of thing, especially when it’s delivered with the dramatic moxie of a multi-talented singer like Miss Dumaine.
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