"Minha voz já era potente quando eu tinha apenas oito anos de idade. Dificil de ignorar",diz a cantora de jazz Mary Stallings sobre como começou a cantar. Mary nasceu no 16 de Agosto de 1939.
Quando tinha apenas 11 anos gravou pela primeira vez e ainda na escola secundária juntou-se ao grupo de Louis Jordan Tympani Five. Ela tornou-se adulta na era das big bands e foi convidada para uma tournée como vocalista, ao lado dos grandes nomes da época.
"Foi a melhor educação musical que eu poderia ter. Fui dispensada das aulas por cantar tudo de cor." Diz Mary.
Cantou ao lado de Grover Mitchell, a banda de Earl Fatha Hines e passou três anos excursionando pela Europa com a banda de Count Basie, dividindo o palco com Joe Williams, Tony Bennett e Ella Fitzgeral. "Conheci todos os meus idolos e ainda tive a oportunidade de trabalhar com eles" costuma dizer orgulhosa, Mary Stallings.
Resumo Importante - Ela é simplesmente maravilhosa, unica.
Click para ve-la cantando maravilhosamente durante apresentação no Brasil.
”I had a huge voice when I was just eight years old. It was a voice too big to ignore”, says jazz singer Mary Stallings born August 16,1939, about her beginnings as a singer. It was a voice too big to ignore. Few could.
By the time she was 11, she had made her first solo recording and while still in high school she joined Louis Jordan's Tympani Five. She came of age in the big band era, and was invited to tour as vocalist with most of the major names of the time. “It was the best musical education I could have had,” explains Mary, “I was fired from lessons for playing everything from memory.”
Instead, her education came a bit more unconventionally, including stints with the Grover Mitchell - Earl “Father” Hines band, three years touring the U.S. and Europe with Count Basie, and sharing the bill with Joe Williams, Tony Bennett and Ella Fitzgerald. “I met all the heroes of the music and then got a chance to work with them,” she says.
Although Mary took time off from touring and recording during the '70's, she never stopped singing. So when she re-emerged back onto the jazz scene reinvigorated, with a sound that gave homage to her past but held a freshness and vigor, she immediately caught the attention of the music press, who called her “stunning” and a “jazz vocal sensation.” During this period, she released several critically acclaimed CDs, one which made many of the year-end “best-of” lists, another that went to the top 10 on the Gavin Jazz Chart.
Today, Mary Stallings combines the grace and grandeur of experience with an undiluted passion for performing in her Live At The Village Vanguard release. With its blend of old and new, smoky standards and take-your-breath-away ballads, the CD, in many ways, reflects this current milestone in Mary's career. “This is the right time for me to be singing these songs,” she says. “I pick songs that feel delicious to me, songs that I relate to at the time, songs that I love. That's what you'll find here.”
“Perhaps the best jazz singer alive today is a woman almost everybody seems to have missed. Her name is Mary Stallings.” --New York Times
“Stallings’ voice is supple and timeless... encompassing the whole history of music.” --San Francisco Chronicle
“Stallings sounds like Carmen McRae with some Dinah Washington sass thrown in. Stallings doesn't flit around or complicate her singing with oblique swirls and curlicues like many younger jazz singers. She stays closer to the blues, laying down the ballad ‘Sunday Kind of Love’ with fine, feminine ardor.” --Philadelphia Inquirer
“The vocalist, who got her start with the bands of Cal Tjader, Billy Eckstine and Dizzy Gillespie, wraps her slightly gospel-inflected pipes around a set of jazz standards and obscurities with true elegance. Live At The Village Vanguard is a soulful body of tunes...” --Portland Oregonian
Reference - AAJ
Tradução - Humberto Amorim