Sylvia Brooks: Dangerous Liaisons

Christopher Loudon on new album from actress/singer Sylvia Brooks

Sylvia Brooks has the look of a classic Hollywood femme fatale, suggesting an auburn-haired variation on Veronica Lake with a hint of Rita Hayworth. And Brooks sings precisely the way she looks – a dark, smoky sound with impressive firepower that seems tailor-made for the sort of plush, palm-treed nightclubs that dotted L.A. in the 1940s and ’50s. Those intimate boîtes — spots like Ciro’s, The Tally-Ho, The Encore and the richly historied Cocoanut Grove — are gone now, but Brooks is rapidly emerging as an SRO favorite at the chic venues that have replaced them, including Catalina’s, the Jazz Bakery and Vitello’s Jazz and Supper Club. Now, with the release of Brooks’ debut CD, the aptly titled Dangerous Liaisons, the wider world can share Los Angelinos’ discovery of her alluring sultriness. Brooks can swing hot and hard, as illustrated by a blistering “Never Dance” and an equally scorching “Sway.” She can also swing brightly, taking “Come Rain or Come Shine” at mid-tempo to ably capture the depth of the Arlen/Mercer gem’s ardor, and holding her torch high on a sweltering “When the Sun Comes Out.”
But Brooks is perhaps best at examining love’s murkier corners. That she was an accomplished actress before she set her focus on singing is evident in her tackling of four of the most challenging numbers in the entire American songbook — “Sophisticated Lady,” “Lush Life,” “One for My Baby” and “The Man That Got Away” (the latter mistakenly credited to Harold Arlen and George Gershwin, when it was Ira Gershwin who crafted the lyric, 16 years after his brother’s demise). They are the Mount Rushmore of 3 a.m. tunes, and many a capable vocalist has failed at scaling even one of them. That Brooks ably captures the near-maddening disillusionment and bourbon-fueled bitterness that pervade all four is testament to her estimable storytelling skills. But significant credit is also due Brooks’ arrangers. Top of the list is Tom Gavin, whose masterful touch adorns seven of the album’s ten tracks. Kudos, too, to saxophonist/flautist Kim Richmond who teamed with Gavin to shape “The Man That Got Away” and single-handedly put the dizzying swirl in “Sway,” and to pianist Jeff Colella, who painted the film noir backdrop for Brooks’ exquisite, indigo-hued “Harlem Nocturne” and placed “One for My Baby” in an unexpectedly dreamy setting that is stunningly effective.

If you’d like to share your comments about Sylvia Brooks or have suggestions for future installments of Hearing Voices, please direct your email to jtvocaljazz@gmail.com.

Singer Sylvia Brooks lights up early summer with her CD debut, Dangerous Liaisons – a collection of carefully chosen gems from the Great American Songbook – accompanied by a stellar 8-piece band. The album has been rolled out to general release after garnering enthusiastic response to a limited private issue earlier in the year. With masterful charts by Tom Garvin, Jeff Colella and Kim Richmond, Ms.Brooks cooks up sizzling performances of ten timeless standards familiar to the capacity crowds she draws to such L.A. area venues as Catalina’s, Vitello’s Jazz & Supper Club, and the Jazz Bakery. Dangerous Liaisons is available through amazon.com, CD Baby, iTunes, and Napster. Initial tracks chosen for airplay by her promotion team, noted jazz specialists Dick LaPalm and Fred Mancuso, are “Come Rain or Come Shine”, “ The Man That Got Away”, and her rare vocal rendition of the classic “Harlem Nocturne”. Sylvia Brooks may be a fresh new face to the worlds of jazz and cabaret, but she is actually a seasoned professional in the art of telling a story, having spent the earlier years of her career as an actor in both straight drama and musical theater – first at the American Conservatory Theatre in San Francisco, and then in numerous companies across the country. She is a native of Miami and was first introduced to the standards repertoire by her father, a jazz arranger/composer, and her mother, who combined nightclub singing and opera production in her own multi-faceted career. Ms.Brooks has a devoted following in Los Angeles, where she now resides. About the enormous treasure trove of American standard tunes, Ms.Brooks says “This music speaks to me! Like all great art, it is timeless and evokes the struggles and pleasures we live every day. The best singers of the past didn’t just sing – they infused each song with passion and brought their lives to the music. I feel that I’m a part of this continuum each time I sing one of these incredible songs.”

Performance Reviews: Six Time Best Bet Critics Pick – L.A. Times
“…grace and confidence…commanding charisma…dynamic performance.” -L.A. Jazz Scene

For more information about Sylvia Brooks, call 831-620-1332 and visit
www.kathrynkingmedia.com
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No stranger to jazz, Brooks was born and raised in Miami and grew up in a musical family. Her father, a well-known jazz pianist, arranged, composed and played for such luminaries as Peggy Lee, Stan Getz, Dizzy Gillespie, Sarah Vaughan and Harry James. Her mother sang at the Eden Roc, the Fountainebleau and the Playboy Club Circuit opening for Jimmy Durante, Rodney Dangerfield and others. She went on to become artistic director of a major opera company, and produced many seasons of opera.

At a young age, Brooks was invited to study classical theatre at the prestigious American Conservatory Theatre (ACT) in San Francisco, which led to her invitation to join the Company, followed by a growing career of performances with numerous companies. Her experience as a serious actor can be found in her singing, bringing new insights into every song. “This music speaks to me,” she says. “It is timeless, yet it is so fresh and new there is always something to discover in it. The great singers of the past didn’t just sing—they took you on a journey. They embodied each song with passion and brought their lives to the music. Sadly, it has become a lost art form; I want to bring it back to life.”

As one critic said, “It’s as if Brooks has lived this music; she and her musicians share an understanding of just what it is saying. I felt that I was actually hearing many of these songs for the first time. They take you on a journey, and bring something innovative and alive to the stage. Sylvia Brooks is definitely here, and that is a great thing.”

Instrument(s):
vocals

Teachers and/or influences?
I studied acting at the American Conservatory Theater in San Francisco. I loved Lena Horne. Also I love Nancy Wilson and Dione Warwick.

I knew I wanted to be a musician when…
I was born into a musical family, so I didn’t really have much choice. I think in my rebellion, I decided to be a classical actress. However several years ago I started understanding the place my life had been leading me too. Which is what I’m doing now.

Your sound and approach to music:
I believe in emotion. I think I gravitate towards songs in the 30′s-40′s and 50′s because the melodies and lyrics are so rich. I love working in a collaborative way. Tom Garvin and I started working together several years ago. He use to joke that he doesn’t collaborate, but the truth is we did. And I learned a lot from him. He did most of the arrangements on this album. And I’ve been fortunate that I’ve been able to work regularly with the guys on my Dangerous Liaisons album. They influenced this project and are a big part of what is on this CD.

Your teaching approach:
I don’t teach. I believe teachers need to be masters. And I’m still learning. I guess I will always be learning. When you stop growing, you might as well quit.

Your dream band:
I would love to add more pieces, a guitar, more horns. I have worked with full orchestras and really love that.

Road story: Your best or worst experience:
Once I was performing in a 1,700 seat theater, and there was a mentally challenged person in the front of the audience. And every time I sang the chorus of the song, he’d let out this big reverberating sound. It was quite a lesson.

Favorite venue:
The 5th Avenue Theater in Seattle. I loved the theater, the producer, the crew. And, it was the same stage that Lena Horne performed on.

Your favorite recording in your discography and why?
My dad’s big band.

The first Jazz album I bought was:
Immortal Concerts: Oscar Peterson Trio with Ray Brown and Ed Thigpen.

What do you think is the most important thing you are contributing musically?
An understanding of what these great songs are saying.

Did you know…
People don’t realize how sensitive and vulnerable I am because I’m strong.

Catalina Bar and Grill
6725 Sunset Blvd.
Hollywood CA, 90028

Show starts at 8pm.

For reservations, email: reservations@catalinajazzclub.com

To buy tickets or for more info, please visit www.catalinajazzclub.com.

Jazz is certainly no stranger to Sylvia Brooks, a fact extraordinary evident throughout the duration of her encore performance at Catalina Bar and Grill. Brooks returned to Catalina stage on July 16, 2008, where she performed songs from The Great American Songbook masterfully arranged by Tom Garvin.

Sylvia Brooks comes from a solid musical background, growing up with her father a popular jazz pianist and her mother a nightclub performer. “Sitting in the crib and hearing that music, it has to do something to you”, says Brooks. It was inevitable that melodies and harmonies would course rapidly through her veins from a very young age. Through Garvin’s innovative arrangements, this music possesses the ability to convey complex emotions while telling a unique and vivid story through the utilization of refreshing and diverse sounds performed by Brooks and her dynamic sextet.

The venue itself is open and inviting, with what it boasts as “Old World charm”. Sharing the space with a stage framed by a scarlet red curtain and adorned with glistening instruments, the small tabletops are filled with admiring fans anxiously anticipating the music to come. With the opportunity for the spectator to not only enjoy some of the best jazz in the city, but also to sip on a specialty cocktail while savoring a succulent meal, the overall experience and comfort of the Catalina Bar and Grill is one of the reasons the artist is drawn to the venue, choosing to return for this encore performance. Unlike many other jazz clubs in the city, the scene here is friendly and amicable, aside from the highly priced menu and somewhat slow service.

Assuming her rightful position upon the stage, wearing a dress adorned with glamorous green sequence, her dynamic presence is felt throughout the venue as she exudes grace and confidence in her serene stride. Brooks places her delicate hand upon the microphone, her beaming smile radiating throughout the room. As her vocal chords begin to resonate, notes emerge as a stark contrast to her feminine physique, yet match her commanding charisma. There is such a smooth quality to the sound as she opens the night with the captivating and energetic tune, “Live Till I Die”. With jazz melodies such as “Cry Me a River”, effortlessly melting into rhythmic Cuban pulsations like “Sway”, followed by the savvy beats of “Harlem Nocturne” and “Blues in the Night”, the varied selection of music was effectively mixed therefore maintaining a smooth and melodic flow to the evening.

Sylvia credits her dynamic performance to her talented musicians, and I certainly agree for I was justly mesmerized by their extensive musical abilities. Ever so often you encounter a stage such as that at Catalina Bar and Grill the evening of July 16, beaming with multi-talented artists who take immense pleasure in what they do. With Chris Colangello on bass, Kendall Kay on drums, Gary Nasterook on keyboard, Ron Stout on trumpet, Kim Richmond on sax and flute, and Jeff Colella on piano, the chemistry between Brooks and her sextet was passionately obvious as each artist played off the energy of another. The joie de vivre upon the staged effortlessly oozed into the audience, allowing Brooks to develop an intimate link with the spectator, opening each number by the sharing of personal experiences accompanied by genuine eye contact and a friendly smile.

Uniting Sylvia’s experience with a broad range of music, and Garvin’s intense passion for jazz, these two vastly different worlds have been melded together into arrangements catered to fit the singer’s individual style. This relaxed and intimate cabaret setting suits Brooks, with a “certain level of satisfaction in the selection of songs that truly speak to your heart”.

Reviewing her varied credits, it is clear Brooks has spent a great deal of time traveling and performing. When asked if looking to stay in LA for any length of time, she responds with promising ambitions of continued appearances throughout the LA area, “keeping the project intact”, in addition to hopes of one day performing in the European club scene. Throughout the evening, with the support of her brilliant musicians, these gifted artists showcased their individual talents, transporting something innovative and alive to the Catalina stage. As she finished her set with an encore of “I’m Still Here”, it is obvious that Sylvia Brooks is certainly here, and that is definitely a great thing.