Nancy Marano (born 1945)
Raised in a musical family (her father was a pianist and her mother a singer), jazz vocalist Nancy Marano began studying music at an early age. First learning classical piano with her father, then with a teacher from Juilliard, Marano eventually began developing her voice as well, inspired by such renowned vocalists as Carmen McRae, Nancy Wilson and Doris Day.
While attending Manhattan School of Music, Marano paid the bills by singing in commercials and jingles, in addition to background singing. It was through doing commercials that she caught the attention of a producer, negotiated a contract with Columbia Records, and sang with a 35-piece orchestra. In the late 1980s, Marano joined the faculty of Manhattan School of Music (teaching jazz voice), and, a decade later, William Paterson University.
1989 saw the release of her debut recording, “The Real Thing”, a collaboration with jazz accordion player Eddie Monteiro, as the duo would issue a pair of other releases together – 1992’s “A Perfect Match” and 1994’s “Double Standards”. In 1999, Marano recorded with the Metropole Orchestra (resulting in the release “If You Could See Me Now”), and, in 2001, issued her first true solo release, “Sure Thing”.
Nancy is still active in education, teaching jazz voice, ensembles, and giving classes in ear-training and sight-singing.
Biography by David Goodridge
Sings Duncan Lamont
Ken Rattenbury reviews the 2004 recording “Nancy Marano Sings Duncan Lamont” and explores the style of Duncan Lamont and Nancy Marano’s contribution towards his music.
Nancy Marano: Interview 3
Image Details
| Interview date | 1st January 2004 |
|---|---|
| Interview source | Jazz Professional |
| Image source credit | |
| Image source URL | |
| Reference number | |
| Forename | Nancy |
| Surname | Marano |
| Quantity | 3 |
Interview Transcription
* I Didn’t Know You * Edward E. & Mr William B. * Just Another Sunday * A Little Samba * The Darker Side Of The Rainbow * Pretty People * There Ain’t Nothing Like The Blues * Where Were You in April * Simple Simon * London At Midnight * Bird * Over & Over * Now We’re Just Friends * You Should Be In Disneyland * Nancy Marano (vocals), Mike Renzi (piano), Jack Wilkins (guitar), Grady Tate (drums), Jay Leonart or Chip Jackson (bass), Eddie Montiero (accordion, vocals). NANCY MARANO SINGS DUNCAN LAMONT (FLY CO 106) 52nd Street
Duncan Lamont, tenor saxophonist, has long been a revered representative of our jazz fraternity, and most deservedly so. But Duncan Lamont, songwriter, perhaps at the moment—a little less well-known. Now, I confidently predict—not for very long! For he has been writing beautiful songs (both the words and the music) for some time now, with spectacular success and acclaim which, so far, has flowered principally in the United States.
His works have attracted performances from a coterie of fine vocalists/performers which includes George Shearing, Blossom Dearie, Nancy Marano, Sandra King and Norma Winstone, to select at random. Practical endorsements of and recommendation for a major creative talent, for this is what Duncan has. This recital of I5 songs—a fraction of his total portfolio, is superbly crafted: the words are either lyric poetry, bluesy, beaty rhetoric, or quoting from contemporary jive jargon as the moods and styles demand, with a flowing, Mercer-like attention to nuance and rhythm which render them irresistibly charming and instantly recollectable; the music, all of it, bristles with beautiful, memorable melodies, genuine tunes—yes, real, honest-to-goodness tunes! At this juncture may I comment that the title of this collection—‘Tomorrow’s Standards’ is totally justified. These pieces are the times and memories of today, and for as many days forward you care to calculate.
The late David Platz, respected Stateside observer, commented thus on this burning talent: “I had heard of Duncan Lamont’s talent as a musician, but it wasn’t until John Dankworth asked me to contact him to discuss the publication of his song, ‘I Told You So’ which Cleo Laine had just recorded, that I began to realise what a unique talent he has.
There are many great lyric writers and likewise melody writers, but very few contemporary writers who can combine both talents together with such diversely different styles of songs, I have heard him described as a new Cole Porter . . .“. And I couldn’t agree more, for Duncan’s melodies and lyrics exhibit the self- same qualities of painstaking craftsmanship, knowledgeable editing, sheer melodic delight and logic, and sensitive word-play which instantly identify the masterpieces of the American master. But the Lamont style is itself unique and original. Lovely.
The performances on this CD are brilliant. Nancy Marano’s delectable, positive sound and passionate delivery and sympathetic reading of the Lamont songs transmit the multifarious moods and atmospheres with unerring understanding.
Her timing and jazz inflexions are exquisitely realised and similar observations can also be directed at her star musicians, whose inspired and tasteful accompaniments and exciting solos bounce the whole presentation along with. style, sympathy and verve.
All the works are quite wonderfully written. I particularly warm to the ‘tribute’ songs: ‘Edward E. & Mr William B.’ (Duke and Count), and ‘Bird’ (Charlie Parker), likewise to the never over-sentimentalised but none-the-less tender love songs. That his material will, before you know it, become part of the standard repertoires of the class performers is totally inevitable. And Duncan’s burgeoning Stateside reputation will, very soon, be duplicated, and triplicated world-wide.
A sure bet.. . .
Ken Rattenbury
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