Reviews

The Bowie Project
featuring Paul Marinaro

All About Jazz

“Marinaro's voice, sometimes brash, sometimes tender, fuses a saxophone's fluidity and a trumpet's brassy edge, in a lineage that goes back to Sinatra and Bennett. He sings with a bassist's sure sense of time. He phrases in ways that serve the melodic line as well as the words within: an interpretative nuance can speak whole sagas. What's more, Marinaro qualifies as a true musician, more than "just a singer"; in the words of the octet's co-founder John Kornegay, "He understands his place in the totality" of each arrangement. Marinaro hears himself as another part of this verdant octet, rather than the centerpiece out front.” 

Chicago Jazz Magazine

“The Bowie Project...feature Marinaro’s exquisite voice and emotional interpretations within sumptuous arrangements that lift Bowie’s music out of its historical context and offer new ways to understand its relevance. ...Marinaro’s dedication to dignified, timely art and Gailloreto’s impeccable leadership, this land breaking effort could very well be one of the post-pandemic’s finer achievements.” 

Jazz Views

“Having recently pondered the ways in which Bowie’s music related to jazz, it was a pleasure to receive this CD to review. Immediately, you are struck by the mixture of songs that the octet has chosen. There are, of course, well known tunes such as ‘Changes’ , ‘Let’s dance’ , ‘Life on Mars’, but also a host of tracks from albums across Bowie’s career. This suggests to me that this is clearly a project developed by people with a deep knowledge and love of Bowie’s music.”

Jazz Weekly

“It could very well be, that like Joni Mitchell, David Bowie could be the source of material for jazz artists, if this recent album by the Metropolitan Jazz Octet is any evidence. The woodwind team of John Kornegay, Jim Gailloreto and Peter Brusen, along with Doug Scharf/tp-fh and Russ Phillips, mix with pianists Bob Sutter-Ben Lewis, vibist Mike Freeman, bassist Doug Bistrow and drummer Bob Rummage to support the rich and Kurt Ellingish voice/delivery of Paul Marinaro.”

Downbeat

“The octet veers between intimate chamber group sounds and bold little-big-band statements. Throughout, Alexander exudes warmth, conviction, rhythmic certainty, precise diction and hard-earned effortlessness. Her tonality is pure, rich and comforting, especially in her low and middle ranges. ‘I want you to feel like you’re in your soft, fuzzy robe when you’re listening to me, like you just came out of the shower or out of the bath and are cozy,’ she says. ‘I’m always trying for the honey in my voice.’”

Jazz Times

“Dee Alexander is not one to throw a pity party. Here, as is her wont, she both honors her source material and reimagines it, aided by some brilliant arrangements as well as deft accompaniment (and first-rate solos) from the Metropolitan Jazz Octet. Although she doesn’t shy away from Holiday’s dark side, much of what she and the MJO offer is, in a word, fun, which isn’t always an adjective associated with Lady Day.”

Chicago Jazz Magazine

“What we get is the best big-band era ambiance but with fewer instruments, played with aplomb and a great singer along for the ride, but in a twenty-first-century studio with high-quality professionals in charge. The reinvigorated Delmark label has done well, again, in providing us a timely representation of Chicago’s finest jazz musicians.”

Chicago Tribune

“Pair Chicagoan Alexander’s stylistically versatile vocals with glistening arrangements for the Metropolitan Jazz Octet, and you have new ways of appreciating Alexander’s art. All the more because she takes on music associated with Billie Holiday, but not the most obvious songs (with the exception of “Strange Fruit,” delivered here on a nearly operatic scale). Alexander’s voice produces fascinating colors and textures throughout.”