Jazz Improv NY Magazine
May 2009
By Cathy Gruenfelder

Everything about this album is classic—from the cover art reminiscent of the fifties and sixties Blue Note records to the song choices—“Caravan,” “Angel Eyes,” “How High the Moon,” and some other great standards. Van Morrison’s “Moon Dance” would perhaps be the odd one out, but then again, it was written almost 40 years ago and is very jazzy even without being interpreted by a crooner like Generet.

Joining Generet is a group of empathetic and supportive musicians who are also leaders in their own right. This includes pianist Onaje Allan Gumbs, drummer Payton Crossley and bassist Marcus McLaurine along with various other guests. For the most part, Generet sticks with the classic format—he sings the melody and then lets his band take over before returning to take it out. Generet has a very deep tone, yet often surprises with his range. At the lower parts of his register, he sounds like Johnny Hartman. He also has a similar vibrato to Hartman, however his style is much more theatric. His voice inflections tell a story in a cinematic kind of way.

For the standards lovers, this album will be quite the feast, although you will be surprised by the interpretation of “Caravan.” Generet and the band take us on a trip through the jungle and leading the way is the percussion work of Neil Clarke and the tribal vocal effects by Manu Narayan. Gregory, for the most part, sticks with his classic style and it makes for a cool contrast with the sounds from the band. After the first verse, Mark Gross takes an incredible soprano sax solo.

The other curveball on the album, “Moon Dance,” shows Generet’s use of dynamics as he goes from piano to forte, creating many peaks and valleys, and his band is right there with him, responding to his whims and pushing him on, before taking the spotlight for themselves. There is a great dialogue at the end between Gumbs and saxophonist Mark Gross. (Re) Generet-ion is the work of a singer that has lived enough to understand the true depth that many of the songs he sings carry. Instead of treating a song as a vehicle for self-expression, he uses his self as a vehicle for the song. In other words, it is the story of the song that is most important. The great thing about this album is that even if you weren’t a fan of vocal jazz, the incredible band alone will do it for you, but put the two together and you have an album that stands at the top of its class.

 

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Gregory Generet: (re)generet-ion
Monsieur Music (CD) 2009

“…Mr. Generet’s programme of eight standards actually took my breath away. His fitting sound is so unsullied it defines the art of ballad artistry. From “Angel Eyes”(Dennis/Brent) to “Caravan” (Tizol/Ellington) he’s on the case in powerful yet softly  laden versions of some wonderful songs. “I’ve Grown Accustomed To Her Face” (Lowe/Lerner) contains much strong emotional heartfelt singing. The stillness in his vocal is ear shattering.  And “ Caravan will doubtlessly have you hitting the replay button. Mr. Generet moans this standard in a tremendously hard driven vocal. “ Stolen Moments(Nelson) is an up-tempo interpretation. It’s a wildly satisfying realized jazz vocal. Mr. Generet outdoes them all with his original and pure style.”
Dan Singer, Singer’s Singers
InTune International Magazine UK

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New York Amsterdam News
Written by Ron Scott 
May, 2009

Gregory Generet in primetime

The pool of male jazz vocalists is very shallow, leaving the still waters open for an exciting new splash.Gregory Generet, the tall, debonair, velvet-voiced baritone, made a big splash at his recent two sold-out sets at Dizzy’s Club Coca-Cola.

The loud standing ovations made it clear a new jazz singer has been anointed. His repertoire on Monday evening, which is set aside at Dizzy’s for UPSTARTS! (young and upcoming talents), included songs from his debut CD, entitled “Gregory Generet: (re)generet-ion” (Monsieur Music Records). “Both our Monday and after hours shows give us an opportunity to work with younger and up-and-coming headliners of tomorrow,” stated Todd Barkan, programming director of Dizzy’s. While Generet can swing tempo tunes, he’s a die-hard romantic who usually takes his listening audience down a love path, conjuring up experiences of the heart. His selections are a string of well-traveled standards made famous by such notables as Ella Fitzgerald and Frank Sinatra, among others. It takes courage to follow such a path, considering the Brooklyn born native is only two years into his professional career as a singer. However, even at this fledgling stage, he has the uncanny ability to turn each memorable song into a “regeneret-ion,” drawing from his own experiences of life and love.

Generet takes time to interpret the lyrics from his perspective, while his band plays the jazz. In this instance, his accomplished band members included pianist and musical director Onaje Allan Gumbs, saxophonist T.K. Blue, bassist Marcus McLaurine, guitarist Jair Coelho and drummer Payton Crossley. Although it was his first time performing with T.K. Blue, he was a perfect fit. The band members were a tight, intuitive group that made every lyrical note a joyful moment. On “I’ve Grown Accustomed to Her Face,” Generet slowed the tempo from the original. Gumbs followed the singer like a melodic shadow, as Blue stepped in with improvisations, showing off dual glimpses of John Coltrane and Johnny Hartman, as they did “Stolen Moments” with a blues edge, allowing the entire band to walk in unison and step out with dynamite solos. As many times as “Angel Eyes” has been recorded, Generet’s baritone voice offered another view, as Gumbs took the bluesy lead. Generet swings on “How High the Moon,” with McLaurin’s deep bottom anchored by Crossley’s smooth brushwork. “Caravan,” one of the hottest songs of the evening, starts on a slow, distinct African beat with background vocals by Manu Narayan (who is seated in the audience as the song takes off). The band and vocals progressed into a crescendo that rocked the house.

“Johnny Hartman had a great impact on me and how to tell a story, and so did Shirley Horn,” said Generet. All these great singers told great stories. I try to tell my own story, not just the song that people have heard a thousand times.” Like Lou Rawls and Joe Williams, Generet can tell a story that swings or brings joyful tears, as his live performance and debut CD demonstrate. Although “(re) generetion” only has eight tracks, they are definitely worth multiple spins. He starts Van Morrison’s pop hit “Moondance” in a cappella that leads into a duo with guitarist Jair Coelho and builds to a passionate finale.With the help of Gumbs as pianist, producer and arranger, they were able to come up with something with more of a jazz flavor, rather than just an influence.

The CD also features saxophonists Roger Byam and Mark Gross, trumpeter Eddie Allen and percussionists Neil Clarke and Ayanda Clarke. T.K. Blue is the only member of the ensemble who didn’t appear on the recording. However, with such an outstanding performance at Dizzy’s, he is definitely on Generet’s radar. “It’s about taking a turn on a different path, and this music has helped to influence that path for me,” said Generet. His CD can be purchased online at CD Baby.com, iTunes and Amazon.com. During these trying times, Generet delivers love songs for a new frontier.

 

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Cabaret Exchange.com
Written by Melody Breyer Grell  

In his cleverly titled debut CD, (re) generet-ion, Gregory Generet immediately brings to mind (or ear) the classic jazz/soul crooners of the not-so-remote past: Johnny Hartman, Joe Williams, et al.

Upon hearing a few tunes, one realizes that interpretation of the lyric is the main goal of this voluptuously voiced artist.  He confirms his resolution in the liner notes.  This economical exposé is mostly about the music, skipping much of his personal background and making it clear to the reader that this is no "vanity project". "Don't sing jazz, just tell the story and let the band play the jazz" is the direct and refreshing quote from these notes, written by Brian Keith Jackson. 

In a day where is almost shameful not to aspire to be just “one of the boys," I find sentiment admirable and honest.  This is not to take away from all the wonderfully accomplished "vocal musicians" out there today, but I think both camps can live in peace.  That said, I would like to make some comments on this seemingly flawless band before I return to Mr. Generet's vocalizing.  Pianist and producer Onaje Allan Gumbs provides supportive lyrical playing.  I say this not to take away from his strengths, for his soloing is fully developed as he takes it out to fully realized rendition and then returns to cushion the singer with just the right touch.  Generet was very fortunate to have this man at the helm.  Bassist Marcus McLurine makes a very strong impression right off the bat, soloing early in "High How the Moon."  He has a nice, fat sound – which is not always the case with this instrument.  Kudos!  Guitarist Jair Coelho and Roger Byam on tenor sax make strong impressions.  Mark Gross is to be heard "bi-saxing” on the soprano and alto horns.  The two percussionists are Ayanda Clarke and Neil Clarke--(got to check out the family tie on that duo); they really add to the sensual exotic feel of the disc, the Latin ones especially.  Payton Crossley on the drum set keeps the whole thing tight and rhythmic.
 
Now to the star of this "show," Mr. Gregory Generet-- he seems to be blessed with a God-given instrument: hot and cool, smooth and rich, what they call "the real thing.”  He employs straight tone and a slight vibrato, at times with a tasteful glissando.  His technique is strong and, with some polishing that comes from constant practice and re-evaluation, I think that he could reach the moon (as he does include two numbers that refer to that celestial body).
 
He makes a strong start with the staple "Angel Eyes,” richly and emotionally sung. To nudge it up to the top rung, I would suggest that he would hold on less to some of the words, adding a more conversational touch.  In the second standard, "How High the Moon," he shows his voice and musicianship to an even better advantage, demonstrating all the aforementioned colors of his voice.  The bass solo was a real standout in this piece and Mr. G does nice simple melodic improv in the last chorus.  Van Morrison's "Moon Dance" starts off as a sedate and delicate duo with the guitar and gradually builds up to a passionate finale.
 
It was nice to hear the less familiar "Once You've Been in Love" by Legrand and the Bergmans.  Nor did I know "Rio de Janeiro Blues" by Richard Torrance.  The most memorable thing about the latter is the mesmerizing Brazilian feel that the band whipped up--I can never get enough of that style of music; it actually almost entices me to go out and buy an Amazonian parrot to spice up my rather rather colorless urban surroundings.
 
"I've Grown Accustomed to Her Face," the evergreen Lerner and Loewe tune was nicely spun out -- it also might have also benefited by a bit more space in the phrasing and clipped wording.  Completing the disc is Ellington's staple, "Caravan." I like the way it is paced: slow and deliberate at first, becoming more frenzied as the sentiment is expressed once again.  
 
This is a shortish CD--about 38 minutes, but it does cover much ground.  I remember the legendary Frank Sinatra /Jobim album that clocked in at about 29 minutes!!  I am old school and generally prefer the shorter lengths of LPs to the sometimes cram-packed CD.
 

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StyleWhipped.com 

“Gregory dazzled the crowd with his smooth voice and funny commentary, and just by looking around, you could tell how much joy his music brought to everyone… I am so, so glad I was able to see Gregory's talents in person. He gave me a renewed appreciation, and I can't wait to hear him play again.”
– Alison Stewart, Co-Creative Director