Gabriele Tranchina

October 24, 2017
Singer Gabriele Tranchina’s newest album, “Of Sailing Ships and the Stars in Your Eyes,” is a musical journey. Tranchina incorporates styles and languages of several countries as she charts the splendid waters of interpersonal relationships.
Gabriele Tranchina, a brief intro
German-born vocalist, Tranchina, has earned accolades from jazz music websites and critics. Her three-octave voice is highly praised for its smooth texture. Tranchina’s instrument is also flexible, yet steady. Her recording history dates back to 2004, with an album titled “The Old Country.” Tranchina’s “A Song of Love’s Color” (2010) earned the singer attention and compliments from music critics.
Tranchina performs with an ensemble that includes her husband, Joe Vincent Tranchina, who arranges, composes and plays piano on the album. In addition, Carlo De Rosa plays acoustic and electric bass on “Of Sailing Ships…,” Vince Cherico is on drums and percussion, and Renato Thoms also plays percussion and provides backing vocals on one of the tracks.
Gabriele Tranchina’s soundscape
Tranchina’s style is inflected with pop, jazz and Latin styles. Audiences can hear these genres on “Of Sailing Ships and the Stars in Your Eyes.” Listening to the lush soundscapes on “Of Sailing Ships…” listeners might think of pop jazz hit makers, Swing Out Sister.
Tranchina’s voice essentially sounds like a mid-range soprano. She surprises with her ability to hold steady notes that other singers might artificially push down to make smoky, or force up to sound light. All of Tranchina’s notes sound right and expertly turned. None of the notes sound as though the singer has strained to reach them. In short, she doesn’t make a grating sound.
Another interesting facet of Tranchina’s performance on the album is her use of language. The around-the-world feel of the release is expanded by Tranchina’s singing in five languages.
Most of the songs on the album are originals written by Joe Vincent. One standout track is “Bossa Ballad and Blue.” Its gentle rhythm is engaging and at first, it seems that the lyrical line might be too unwieldy for smooth singing. There is a romanticism that exudes from the lyrics and a rhythm that helps the song earn its title.
“Je Crois Entendre Encore” by Georges Bizet, is another song on the album that shouldn’t be missed. Sung in Tranchina’s lilting French, the song isn’t just a cover song, but an artful example. The presentation of this track, among others, helps to create a sense of place. The theme of the album is exemplified by songs like “Je Crois Entendre Encore.”
Gabriele Tranchina’s “Of Sailing Ships and the Stars in Your Eyes,” manages to stay true to its theme without overwhelming audiences. Too often, albums that are created with a global perspective sound contrived. Tranchina’s work flows easily from one cultural to the next. Each piece of the instrumentation meshes with the other, and none of it overwhelms the singer. That is important; the album remains one of vocal jazz and listeners get a chance to hear who the singer is, as shown through the work.


Dodie Miller-Gould - Dodie Miller-Gould

December 4, 2017

Media Alert: Gabriele Tranchina Of Sailing Ships and the Stars in Your Eyes (Rainchant Eclectic Records RER1001) Street Date: October 18, 2017
Gabriele Tranchina (voice, background voices (tracks 1, 4 ,6 & 8), Joe Vincent Tranchina (piano, keyboards, melodica (track 5), programming (track 12), clavés (track 3), background voice (track 2), Carlo De Rosa (acoustic bass, electric bass, background voice (track 2), Vince Cherico (drums, percussion), Renato Thoms (percussion, background voice (track 2)
http://www.gabrieletranchina.com


CD Review: http://jazzquad.ru/index.pl?act=PRODUCT&id=4829

By Leonid Auskern
Google Translate
Wind-blown sails and stars in the eyes of a loved one, claimed in the title of the album and title composition, immediately set the romantic mood. Some at the same time immediately start listening to the disk in anticipation of the collection of lyric ballads, others will put it aside. But both are mistaken, because Of Sailing Ships and the Stars in Your Eyes the singer Gabriel Tranchina is much wider than this narrow framework, although the romance in this work is certainly present.

Gabriel Tranchina was born in Germany, but interest in different countries and different cultures tirelessly drove her into distant and close travels. Growing up, Gabriel traveled a lot of countries in Europe and Asia, moved to America, where she finally settled in New York. But the passion for travel, albeit in a slightly different form, did not leave the singer now, which was evident in her new album Of Sailing Ships and the Stars in Your Eyes. She sings here in five (!) Languages - English, Portuguese, French, Italian and German. And in every song Gabrielle's sonorous and strong voice is the theater of one actor, where she skillfully gets used to the image of a representative of this or that culture. If we compared the singing of Gabriel with the theater, then of course there is also a talented director: it's the husband of the singer, Joe Vincent Tranchina. He is the author of half of the album's songs, the author of all arrangements and the performer on all kinds of keyboard instruments, who heads the Gabriel Quartet of musicians accompanying.

The beginning of the album is a hymn to Latin jazz and in the starting song of Joe Vincent Island Dreams, and in the interpretation of the Vernon Duke's standard Autumn in New York. In many respects this work is facilitated by the work of both percussionists, Vince Cheriko and Renato Toms, who paint the entire pythmical structure of the compositions in the appropriate tone. In Bossa Ballad and Blue, another song of his wife, Gabriel leaves for Brazil, very subtly and accurately conveying the nuances of bossa-nova. She does not leave this region and in two covers of the most prominent Brazilian composers - Zhobim and Milton Nasimento, I would call Zhobim O Morro Nao Tem Vez one of the peaks of the album. However, it is not inferior to her spectacular, impudent, but convincing interpretation of the music of the French classic Georges Bizet Je Crois Entendre Encore. From high music, the wife of Tranchina confidently turn to high poetry: Joe Vincent wrote music to the poems of the outstanding German poet of the twentieth century, Elsie Lasker-Shuler, and Gabrielle performed Ein Alter Tibetteppich beautifully. And the main pearl of the album, I would call the final (more than ten minutes of sound) the final song A Song for India, also written by Joe Vincent and performed by Gabriel in the technique of syllabic singing. Of course, this is not a classic Indian raga, but a view of India from the West - but a loving, attentive and very talented look. Oddly enough, I did not like Tranchina's journey to the world of jazz standards, and not because the singer looks weaker here: there are many such vocalists, but in her "travels through the countries and continents" Gabriel Tranchina is really unique. - Leonid Auskern

October 22, 2017
Gabriele Tranchina heavenly jazz vocals Gabriele Tranchina – OF SAILING SHIPS AND THE STARS IN YOUR EYES: It’s been a bit since I last reviewed Gabriele’s superb jazz vocal work in issue # 105; her new release features her heavenly jazz vocals, of course, and she’s joined by her husband, Joe Vincent Tranchina, piano (Joe also wrote originals and arranged tunes for the album); Andy Eulau, bass; Willie Martinez, drums; and Renato Thoms, percussion, and their work will transport you to those places you’ve most wanted to be, especially on tunes like the totally laid-back & bluesy “Bossa Ballad and Blue” (I didn’t see any samples posted, even though the release date was the 18th of October, 2017; I’ll come back and add them when they’re out there)… in the meantime, you can catch a few glimpses of Gabriele’s work for the new album on the video below… - Dick Metcalf

Vocal jazz can make me cringe, and most of the time it does, but when you have a voice that shows the beautiful of not only your voice and singing, but jazz music itself, you must fall to your knees and beg. Gabriele Tranchina is a singer that will make you bow, as you’ll hear in her new album A Song Of Love’s Color (Jazzheads).

Let’s get this part out of the way. She is listed as being “multi-lingual”, and in this case she sings not only in English, but in Spanish, Portuguese, and (I believe) German. That isn’t exactly an easy thing to do, and sometimes singers are better off singing in their native tongue (just as Shakira). Tranchina sings like someone who is well versed in all languages, very comfortable in moving from style to style, culture to culture, almost flawlessly. This is someone whom I would not hesitate to see live. She can do pop, jazz, and can even hear a country sensibility in her voice and maybe even a bit of soul if she wanted, and I guess after years of hearing countless singers to try to do what they’re incapable of doing, it’s refreshing to hear someone who is full capable.

(A Song Of Love’s Color will be released on April 13th.) - music-reviews

English Translation
German vocalist Gabriele Tranchina takes us on a musical journey without borders in “Of Sailing Ships and the Stars in Your Eyes” (RER 2017), her most recent and third musical production. Preceded by The Old Country (2004) and A Song of Love's Color (2010), the album was co-produced by Joe Vincent Tranchina and featured a masterly quintet: Carlo De Rosa (bass), Renato Thoms (percussion), Vince Cherico (drums) and Joe Vincent Tranchina (piano). Throughout the 12 tracks of the album released by Rainchant Eclectic Records, Tranchina moves with mastery through different rhythms such as Salsa (Autumn In New York), Cha-Cha-Cha (Island Dreams), Ballads (Bossa, Ballad and Blue), the blues (Straphangin’), Bossa Nova (O Morro Não Tem Vez)
Of the 12 titles of the recording, 6 are originals -composed by Joe V. Tranchina- and 6 are are-interpretations of classics compositions by Henry Mancini, Milton Nascimento, George Biset, Vernon Duke and Carlos Jobim. Island Dreams is an outstanding cha-cha-cha performance by Vince Cherico on drums; Autumn in New York, original by Vernon Duke, is a jazzy salsa with a deep development and sticky textures while the ballad Bossa, Ballad And Blue presents Carlo De Rosa's solo bass; Straphangin’ (Joe Vincent Tranchina) explores the blues while Je Crois Entendre Encore (George Bizet) and bossa O Morro Não Tem Vez (Jobim) graduate Tranchina as an integral artist with the ability to change languages. Meglio Stasera, in Italian, Vera Cruz, in Portuguese or Ein alter Tibettepich, in German, are real gems. The latter is an interesting and sophisticated cut with introduction of rumba.
Gabriele Tranchina moves like a fish in the water for different rhythms, with an educated and wonderful voice, is able to walk through different moods, languages and musical genres. The one based in New York is an explorer by nature and this is printed in each of her songs.

Spanish:
La vocalista alemana Gabriele Tranchina nos lleva a un viaje musical sin fronteras en Of Sailing Ships and the Stars in Your Eyes, su mas reciente y tercera produccion musical. Antecedido por The Old Country (2004) y A Song Of Love´s Color (2010), el disco fue co-producido por Joe Vincent Tranchina y conto con el concurso de un quinteto magistral: Carlo De Rosa (bajo), Renato Thoms ( percusion), Vince Cherico (bateria) y Joe Vincent Tranchina (piano). A lo largo de los 12 temas del disco editado por Rainchant Eclectic Records, Tranchina se mueve con maestría por diferentes ritmos como la Salsa (Autum In New York), Cha-Cha-Cha (Island Dreams), Baladas (Bossa Ballad and Blue), el blues (Straphangin), Bossa Nova (O Morro Não Tem Vez)
De los 12 títulos de la grabación, 6 son originales -compuestos por Joe V. Tranchina- y 6 son are-interpretaciones de clasicos compuestos por Henry Mancini, Milton Nascimento, George Biset, Vernon Duke y Carlos Jobim. Island Dreams es un cha-cha-cha destacada actuación de Vince Cherico en la bateria; Autum in New York, original de Vernin Duke, es un salsa jazzy con un desarrollo profundo y texturas pegajosas mientras que la balada Bossa Ballad And Blue presenta el solo de bajo de Carlo De Rosa; Straphangin (Joe Vincent Tranchina) explora el blues mientras que Je Crois Entendre Encore(George Biset) y el bossa O Morro Não te Vez (Jobim) graduan a Tranchina como una artista integral con la capacidad de cambiar idiomas. Meglio Stasera, en italiano, Vera Cruz, en portugués o Ein alter Tibettepich, en alemán, son verdaderas joyas. Este ultimo es un interesante y sofisticado corte con introducción de rumba.
Gabriele Tranchina se mueve como pez en el agua por diferentes ritmos, con una voz educada y maravillosa, es capaz de pasearnos por diferentes estados de animo, lenguajes y géneros musicales. la radicada en New York es una exploradora por naturaleza y esto lo imprime en cada una de sus canciones. - Luis Felipe VALERO ARISTIZA

Tranchina eschews the exactitude of notation to scale impossible heights of emotion. In this respect she is like a storyteller who uses lyric passages to let tales of longing and other elusive emotions unfold with the songs she sings. As a vocalist Tranchina often coaxes her voice to stretch beyond its contralto comfort zone. This is no mean feat as there appears to be no strain at all. On the contrary, Tranchina never fails to surprise with the manner in which she is able to hold onto notes higher than her normal vocal range.
Another important feature of Gabriele Tranchina’s singing is that she is able to sing with stylish facility in French, Portuguese, Spanish and English as well as in her native German. On A Song of Love’s Color Tranchina even manages to navigate through a wonderful Sanskrit chant, “Asato Maa (Sat Chit Ananda).” This, of course, has everything to do with her Germanic roots—Sanskrit and German having the same linguistic origins. Nevertheless, the haunting rendition is memorable. Her version of “Today,” seemingly written almost exclusively in a diatonic mode is also quite exquisite as the song seems perfect for her method of intonation. And this is probably Gabriele Tranchina’s main vocal strength.

Song of Love's Color
Gabriele Tranchina...
Buy New $16.98

Privacy Information
Through the velvety softness of her voice, Tranchina delivers lyrics with a deep sensitivity for the feeling of their underlying emotions. The song, “Duérmete Niño Bonito” is a perfect example. Here Tranchina displays emotion in equal measure whether she singing wordlessly or otherwise—in English or in another language. The dramaturge of the music is all in the manner of delivery. On “Voz” she turns wordless vocalizing into a fine art and in addition, displays exquisite interplay her band mates, especially with bassist, Santi DeBriano. The Panamanian-born, New York-based musician shows why he is so much in demand as an accompanist by other instrumentalists.
In his foray with Tranchina, DeBriano displays a wonderful sensitivity for the delicacy of the human voice as he goads the vocalist into realms of outstanding arabesques as well. The songs, “Solamente Pasiòn” and “Siehst Du Mich” are two of the finest examples on this record. On the latter, DeBriano undertakes an arco con brio arabesque of his own as he plots a brooding course throughout the song, ending in a single note that he holds down to establish the elemental pain of the character in the German poem. And this makes DeBriano the other star of the record.
However, it is clear from Tranchina’s performance that she is a vocalist of the highest order. Her style is not conventional. She may not ever sing an aria, but when she interprets the narrative of a song and gets in to character she has few peers. Anything new from her will be a welcome addition to the literature of vocal music.
Tracks: Chante Comme Si Tu Mourir Demain; A Song of Love’s Color; Samba De Uma Nota So; Today; Sing a Song of Children; Inutil Pasagem; Asato Maa (Sat Chit Ananda); Duérmete Niño Bonito; Voz; Solamente Pasiòn; Siehst Du Mich.
Personnel: Gabriele Tranchina: vocals, background vocals; Joe Vincent Tranchina: piano, background vocals; Santi DeBriano: bass; Renato Tomas: percussion, background vocals; Bobby Sanabria: drums, background vocals; Roberto Sanabria: background vocals. - LatinJazzNet

What a queue-jumper Gabriele Tranchina turns out to be. A pile of CDs sits accusingly on my disk awaiting critical attention. I’d been sampling and tasting here and there, planning an orderly assault. But on Monday, Tranchina’s new album – A Song of Love’s Color (Jazzheads JH1176) – landed fresh from New York, inveigled its way onto my player and has been sitting there ever since, spinning an insistent spell, and demanding listen after listen.

Think Lambert, Hendricks and Ross meet Pink Martini, with a dash of Astrid Gilberto, a streak of Ute Lemper, a hint of Mina and a sense of Anita Baker, and you can begin – just about – to anticipate the startling effect of Tranchina’s voice as she juggles rhythms, styles and languages to create a constantly shifting mood. One minute you’re chilling to late night jazz, the next you’re swept up in a Jobim samba, before being caught in the headlights of a hypnotic, almost Weill-ish lieder.

All of which makes her a bit of a marketer’s nightmare – and precisely the kind of singer that Art of the Torch Singer loves. The cocktail of jazz, world music, vocalese and chant might well be overwhelming if it wasn’t for the relaxed consistency of the band, led by Tranchina’s husband Joe Vincent – who wrote several of the tracks and is responsible for the cool, spare arrangements. Tranchina clearly thrives on the freedom this gives her to swing between techniques and tones.

The album kicks off with a Fugain/Delanoë chanson, “Chante Comme Si Tu Devais Mourir Demain”, which pretty much describes Tranchina’s mission. The title track follows, revealing her dexterity with a melody and some alluring phrasing. Later, a traditional Hindu prayer provides the basis for a swirling, syncopated chant that also includes a brief rap, “Asato Maa (Sat Chit Ananda)”, and a Spanish lullaby – “Duérmete Niño Bonito” – has an authentic, shuffling last-dance-of-the-night atmosphere. And “Siehst du Mich” – a poem by Else Lasker-Schüler, set to music by Joe Vincent – concludes the album on a beautifully sombre, brooding note.

A Song of Love’s Color, mixed by Joe Vincent and Randy Klein, and mastered by Gene Paul, was recorded in New York in the summer of 2008. Its release is long overdue. Tranchina herself – German-born and New York-raised – remains something of an enigma, despite the stylish art work on the sleeve. A trawl around Youtube and MySpace yields nothing in the way of clips.

Her people should do something about that fast, because once you’ve heard this you’ll want to know more about an artist who clearly has something different to offer the homogenised world of modern popular music.

- PiersFordWorldPress.com

Gabriele Tranchina proves herself to be a versatile vocalist on her second CD. Accompanied by a first-rate band including her husband, Joe Vincent Tranchina, on piano, bassist Santi Debriano, and drummer Bobby Sanabria, the expressive alto sings in six different languages, while moving fluidly through many styles. The opener, "Chante Comme Si Tu Devais Mourir Demain," is a driving samba with French lyrics. She tackles Antonio Carlos Jobim's "One Note Samba" with equal skill in a breezy setting, along with an emotional interpretation of the late composer's "Inútil Paisagem." The pianist contributed several originals, including the haunting ballad "Siehst du Mich," featuring his spouse singing a German poem set to music; "Voz," a delightful scat vehicle for her in an Afro-Cuban setting; and the warm "Sing a Song of Children." Few vocalists have the capability to cover so much territory in the space of a single CD, so Gabriele Tranchina is clearly a talent deserving of wider recognition.
- All Music.com

This German-born vocalist has really pushed herself on this, her second release under her own name. With a band led by her accomplished pianist/composer husband Joe Vincent Trachina and co-producer/drummer Bobby Sanabria, this program features 11 tracks with songs sung in 6 different languages. Sanabria drives the band hard on the opening "Chante Comme Si Tu Devais Mourir Demain", imbuing the piece with a Brazilian "parade" feel. He, then, really shines on Antonio Carlos Jobim's "Samba De Uma Nota So", setting a breath-taking pace. Yet, Sanabria can be calm and colorful as he displays on the other Jobim work, "Inutil Paisagem" which also serves as a spotlight for the smooth, cool, tones of bassist Santi Debriano.
Among the highlights is the inventive "Asato Maa (Sat Chit Ananda)", a Hindu prayer and chant atop Latin rhythms and featuring a "rap" section in English. There are several pretty ballads throughout the program, including the traditional Spanish folk song "Duermete Nono Bonito" and the sweet "Sing a Song of Children." German poet Else Lasker-Schuler (1869-1945) is the basis for a lovely melody (by Mr. Tranchina) - "Siehst Du Mich" is a love song sung in Ms. Tranchina's native tongue, a quiet and serene close to the CD.
Gabriele Tranchina has a fine, clear,voice, is articulate and knows how to put a lyric over and how to work with a band, whether it's swinging hard or cooing a ballad. The sheer variety of her material is certainly a point in her favor (although it might drive radio programmers crazy.) Kudos to the fine rhythm section (percussionist Renato Thoms works well alongside Sanabria and Debriani) and the handsome piano contributions of Joe Vincent Tranchina. To find out more, go to www.sollatimusic.com.
- Step Tempest

Outstanding New Jazz Releases of 2010

December 23, 2010

Gabriele Tranchina A Song Of Love's Color (Jazzheads) This, I wrote, "is a wonderful release that is sure to charm listeners with not only Gabriele Tranchina¡¦s lovely voice, but her wonderful expressiveness and the tight playing in support of her. This is a recording that easily lends itself to repeated listening"
- In a blue mood blog/Outstanding new releases of 2010

July 27, 2010 Though female jazz vocalists tend to get lumped together, every once in a while, we get CD's that have the degree of talent & vigor in their performances that elevates them far above the level of "just another lady jazz singer"...

Gabriele is certainly above the pack, & totally "international" in her appeal to your ears! It really doesn't matter what language she sings in, her energy, inflection and pure joy in the singing of it shines through for you to groove on. The title track, for instance, "A Song of Love's Color", opens with a wonderful blending of voices that punctuates the 4:58 piece wonderfully...

for wonderful high-energy Latin flavors & shadings, you'll certainly dig on "Samba de Uma Nota Só"...

beautiful rhythms that just won't quit. It was "Sing a Song of Children", with the sound of healing (through the lives of children, so artfully expressed by Gabriele) that captured my vote for favorite. I give this CD a MOST HIGHLY RECOMMENDED for any jazzers who love the sound of vibrant female vocals. The "EQ" (energy quotient) rating is 4.97. Get more information at JAZZHEADS!
- ZZAJ

Gabriele Tranchina - A Song of Love’s Color 4/3
O's Notes: Gabriele is a truly a global vocalist raised in Europe and now based on the New York jazz scene. She sings with a wide array of influences in several languages and different styles. Yet Tranchina puts her own slant on things. This is the case on the Latin classic "Samba De Una Nova Só" and "Solamente Pasión" with its strong mambo beat. Gabriele swings on "Today" one of several strong tunes written by her husband and pianist Joe Vincent Tranchina. Santi Debriano (b) is also among the strong musicians on the CD adding great solos on "Inútil Paisagem" and "Asato Maa". The album is more than a collage of different ideas; it is a balanced effort that is also well executed and enjoyable to listen to.
- O's Place Jazz Magazine

Album Of The Week: A Song Of Love’s Color, Gabriele Tranchina

A Song of Love’s Color
Gabriele Tranchina
Jazzheads
The idea of “world music” has always seemed like a bit of a facade - all music comes from somewhere in the world; just because we encounter a different musical culture doesn’t place it in a vague and exotic category. This idea highlights the differences between musical worlds and creates a mental block around artistic exchange between cultures. It distracts musicians and listeners from finding the similarities between musical traditions and ultimately it hinders the active sharing of artistic ideas and aesthetic concepts. If we get past the boxed-in notion of “world music” as a genre unto itself and start look at the beauty in the cultural tradition of each region’s traditional music, we find a wealth of inspiration and possibilities. At that point, wonderful collaborations emerge, musical boundaries are stretched, and new ways of looking at music are discovered. This moves beyond the fluent exchange between music from the Americas and the Caribbean, reaching into Europe, Asia, Africa, and beyond. Lyrical, rhythmic, harmonic, and melodic combinations rise into the forefront that we’ve never imagined, sparking only creativity and goodwill. When musicians re-imagine the “world music” category and explore music of the world, true artistry can emerge. Vocalist Gabriele Tranchina gathers a group of top-notch musicians around this perspective on A Song of Love’s Color, producing a colorful set that fluidly brings together a variety of cultural traditions.

Exploring Musical Worlds With Original Compositions
The group explores a variety of different musical worlds with several original compositions, smartly arranged by the group. A thick collection of intertwining overdubbed vocal scat from Tranchina floats over a steady cha cha cha groove on “A Song Of Love’s Color,” leading into a dramatic English vocal with a tightly wrapped rhythm section accompaniment. Pianist Joe Vincent Tranchina maintains the serious minor mood of the piece with airy lines that drift through the solo with a defined sense of melodic integrity. Santi Debriano’s bowed bass creates a a broad sonic foundation beneath Tranchina’s return to the main melody, which takes the vocalist into a series of defined scat lines. Vincent Tranchina takes his time creating a gripping unaccompanied introduction to “Solamente Pasión,” stretching the boundaries of strong themes with flowery embellishments. A strong clave and forceful abinico from drummer Bobby Sanabria sends the band storming into a memorable bass vamp, a catchy coro, and a full force Cuban descarga. Once the group settles into a driving son montuno, Tranchina opens into some nice pregones, sending the descarga into an exciting climax. Vincent Tranchina stretches broken chords across a vast expanse, setting the stage for Tranchina’s rubato vocal on “Today,” which gains a pleasant motion through a variety of rhythm section feels. Traces of the vocal melody peek through Vincent Trancina’s improvisation, evolving into an engaging statement as the pianist twists lines through swing, samba, and more. As Tranchina returns for the vocal, the group pushes the song into a higher dynamic with improvised commentary from Vincent Tranchina. The rhythm section provides a strutting combination of Brazilian swing and funky groove behind Tranchina’s scatted melody on “Voz,” cleverly finding a locking point through common accents. Debriano flies into an impassion solo, storming through quick melodic runs and rhythmic figures, trading ideas with Vincent Tranchina’s understated piano response. After an extended scat and piano interlude, the group falls into a slow groove behind layers of overdubbed vocals, setting the stage for Tranchina’s well constructed scat solo. These pieces allow the group to explore Vincent Tranchina’s compositional voice, utilizing a variety of musical settings.

Lyrics From Creative Sources
Tranchina brings several worlds together by taking lyrics from creative sources and adding inventive musical accompaniment and arrangements. Talking drums assertively converse over a 6/8 groove on “Asato Maa (Sat Chit Ananda),” leading into Tranchina’s melodic interpretation of a traditional Hindu prayer. Tranchina fills between pieces of the vocal with an inspired flair that combines the minor mood of the key center and the syncopated tension of the rhythmic foundation. Debriano establishes a steady bass line over a sparse percussion background as Tranchina offers a spoken English statement that explodes into a massive wave of thick vocals and explosive percussion fills. A gentle piano vamp and sparse bass notes open the door for a German vocal on “Siehst Du Mich,” until Sanabria provides sensitive brush work, allowing Tranchina to broadly interpret the melody. Debriano imbues the song with a sense of delicate beauty, creating a touching bowed statement filled with emotional powe - The Latin Jazz Corner

Café Extra: Unter dem Motto ,,Erwarte das Unerwartete" sind Gabi und Joe Tranchina in Büttelborn zu Gast
BÜTTELBORN.


| |
Viel Beifall gab es am Samstagabend im Büttelborner Café Extra für Gabi Diehl-Tranchina und ihren Mann Joe. Foto: Alexander Heimann


Sie ist die ,,Lady in Red", die Dame in Rot, die alle Blicke bannt. Der Auftritt der gebürtigen Groß-Gerauerin Gabriele ,,Gabi" Diehl-Tranchina und ihrem Partner, dem Komponisten und Pianisten Joe Tranchina, ist am Samstagabend der Höhepunkt vor der Sommerpause im Café Extra. Das Duo, das in New York lebt, bringt den Sound des Modern Jazz und internationaler Worldmusic über den Ozean.

Joe Tranchina stimmt am Piano mit einer Komposition aus jazzigen und klassischen Elementen ein, als sich die Sängerin auf hohen Schuhen elegant durchs Publikum schlängelt. Unter dem Motto ,,Erwarte das Unerwartete" beginnt Gabi Tranchina mit einem französischsprachigen Lied, das ihr Mann Joe komponiert hat. Mit wenig Equipment setzt sie ganz auf die Intensität ihrer Stimme im Dialog mit dem Piano. ,,Chante, mon Amour", sing, mein Liebling, was immer das Leben bringen mag, lautet der Refrain.

Wie in den meisten Kompositionen von Joe Tranchina, gibt es auch hier instrumentelle Passagen, die der Stimmung improvisierend nachspüren. Die Sängerin unterstreicht mit lasziven Bewegungen, hält die Spannung und setzt mit kraftvoller Stimme erneut ein.

,,Vergiss das Singen nicht" könnte als Devise auch über dem Lebenslauf von Gabi Tranchina stehen. ,,Ich bin in Groß-Gerau aufgewachsen und habe nach dem Abitur entschieden, das zu tun, was mir Spaß macht", erzählt sie freimütig. Mit dem Sprung über den Ozean hat sich ihr die Welt des Jazz und der südamerikanischen Musik eröffnet. Als befände sie sich in einer Bar in Manhattan, versprüht Tranchina mit ihrem Charme etwas vom amerikanischen Traum kühner Selbstbestimmung. Zum Konzert sind Freunde und Familie gekommen, und immer wieder schickt die Sängerin ein Lächeln ins Publikum.

,,Man braucht nur eine Note, um einen Samba gut zu spielen", sagt Gabi Tranchina und stimmt einen Song des brasilianischen Komponisten Antônio Carlos Jobim an. Das feurige Lied, eine Mischung aus Samba und Cool Jazz, macht das Volumen ihrer Stimme deutlich. Nasale Intensität, kräftige Intonation und flüsternder Hauch wechseln ab. Das Piano unterlegt mit überschäumender Lebensfreude, rasant und ausdrucksstark gespielt. Keine Frage: Gabi Tranchina ist ganz in ihrem Element, Rio steht ihr gut. Das Publikum applaudiert begeistert.

Kompositionen von Joe Tranchina und südamerikanischer Sound wechseln ab. Eine Ode an die Kinderträume (,,What ever you wish, will be - was immer du wünschst, wird wahr") hat melancholischen Tenor, der Song ,,Today" huldigt dem Leben, Glück und Trauer liegen dicht beieinander. Das vertrauensvolle Band des Duos ist spürbar, die Kompositionen Tranchinas sind der Sängerin auf den Leib geschrieben. Wenn sich die Künstler im Dialog von Stimme und Piano einander zuwenden, schwappt der Spaß am Spiel mit Lautmalerei ins Publikum über.

,,Eigenartig, aber wahr: wo Sonne und Strand sind, haben die Menschen tiefsinnige Gedanken", sagt Gabi Tranchina und kehrt zu einer Komposition von Jobim zurück. Zwischen Lebenslust und Melancholie pendelt der Gesang, das Piano stürmt wie Wellenrauschen voran, die Sängerin setzt mit getragener Tiefe dagegen - eine brillante, gegenläufige Interpretation entsteht.

,,Song of Love's Color" ist der Abend nach dem Titel der neuen Tranchina-CD überschrieben. Im Namen der Liebe hat Joe Tranchina auch das einzige deutschsprachige Lied des Programms komponiert. Zu dem Gedicht ,,Siehst du mich" von Else Lasker-Schüler ist eine poetische Melodie entstanden. Feinsinnig bettet Gabi Tranchina die Lyrik ein: ,,Dein Antlitz wärmt meine Welt, von dir geht alles Blühen aus." Bravorufe werden laut.

Schweren Herzens heißt es schließlich Goodbye: Gabi & Joe Tranchina sind ein Duo von Weltformat, der Applaus bezeugt Begeisterung und Hochachtung.




- Darmstädter Echo, Germany

This CD is exceptionally sophisticated, with songs sung by Gabriele Tranchina in Spanish, Portuguese, German, French, Hindi, and, yes, English too. With captivating music and lyrics by Joe Vincent Tranchina, plus the sumptuous melodies of Antonio Carlos Jobim and Michel Fugain, A Song of Love’s Color is a recording you cannot do without. Each track has jazzed-up, rousing musicality or soothing intimacy. There’s even a Hindu prayer and chant. Bobby Sanabria, drummer and Latin percussionist, teams up with Joe Vincent Tranchina on one track for “Solamente Pasión”. Exploring Gabriele Tranchina’s new album is serendipitous, with each track refreshingly unique.

Notable tracks:

#1 – Chante Comme Si Tu Devais Mourir Demain -- Composed by M. Fugain – P. Delanoë. What could be more exciting than hearing a sexy French song in impeccable accent, sung to a Brazilian Samba rhythm, with teasing background vocals. Renato Thoms and Bobby Sanabria keep the momentum invigorating, and the listener is immediately swept into this impassioned recording.

#6 – Inútil Paisagem – Composed by A. C. Jobim – A. D. Oliveira. Just when you expect the Brazilian Jobim track to be brisk, it surprises you with elegant, elongated, romantic refrains. Santi Debriano takes a solo riff that expands on the melancholy quietude, while percussive flourishes and echoing piano passages close the song.

#7 – Asato Maa (Sat Chit Ananda) – Composed by J. T. Tranchina / Trad. Hindu. This track, which would be extraordinary as a modern dance score, is sung in Hindi and chanted in English by Ms. Tranchina, and then percussion and background vocals merge for a dramatic finale. At one point, bass and percussion have a rhythmic conversation that enhances the pulse.

#10 – Solamente Pasión – Composed by J. V. Tranchina – B. Sanabria – R. Thoms. I defy the listener to sit still during this track, with piano and percussion creating a wild mambo mania. The background vocals are strong, with Ms. Tranchina’s the strongest, for this instrumental composition. This is danceable music for the Latin aficionados.
- RobertaOnTheArts

A new face in the crowd is that of lovely Gabriele Tranchina, an international talent, who performs selections in six languages on her debut CD for the Jazzheads label. The German-born singer has a Parisian background and focuses on Brazilian music in this outing titled "A Song Of Love's Color." This composition, along with several others was penned by her husband pianist/arranger Joe Vincent Tranchina. The multicultural atmosphere is nicely buoyed by veterans Santi Debriano on bass and Bobby Sanabria on percussion. Gabriele performs with intriguing nuance and focused aplomb. We hope to see her at upcoming international festivals where she is surely headed. - All About Jazz

Chanteuse Gabriele Tranchina celebrated her CD, A Song of Love’s Color, at Feinstein’s on June 13, 2010. With her in the band were Joe Tranchina, pianist and composer, Santi Debriano, bass, Renato Thoms, percussion and Grammy-award-winner Bobby Sanabria, drums. Gabriele came onstage in the same bright red dress that she wore on the cover of her CD, and had a sparkle in her eyes as she sang the opening number in French, “Chante Comme Si Tu Devais Mourir Demain,” (“Sing as if you would die tomorrow”). Although she is German-born, Gabriele has no trouble singing in a variety of languages; hence, this music might be categorized as “World Music,” although it is heavily influence by a Latin beat.

Gabriele’s husband, Joe Tranchina, wrote and arranged most of the music, including the title cut of the CD, “A Song of Love’s Color.” This is a pleasing-sounding bossa-nova, with heavy percussion and soulful bass. I felt there was good chemistry amongst the musicians – there was no need for Joe to do much directing, and he was able to focus on playing some beautiful lines on the piano.

The arrangement of Jobim’s “Samba De Uma nota So” (“One Note Samba”) allowed the percussionists to stretch out their solos, while Gabriele sang the tune in half-time – this is an interesting concept, as it made the song seem slow, even though the drumbeats filled the air.

Another Jobim composition, “Inutil Paisagem” (“If You Never Come to Me”), was a perfect feature for Gabriele’s voice, as she was able to evoke that beautiful clean tone that is unique to Brazilian singing. Santi added some soulful low notes on his 5-string bass, and proceeded to play an amazing virtuosic solo that elicited a big applause. Joe showed his own talent at the piano during the extended tag at the end.

They did several novelty numbers, “Sing a Song of Children,” which kids actually might enjoy and “Asato Maa (Sat Chit Ananda),” a poly-rhythmic, poly-continental yoga chant tribute. Gabriele not only sang on this one, but also scatted, rapped and made percussion-like sounds with her voice.

The climax of the evening was the tune “Solamente Pasion” (“Only Passion”), written by Joe and Bobby, with lyrics by Renato. With the stage lights decreased to a low blue, Joe began an intro on piano in a soft but serious manner. Dramatically, the lights went up and the tune progressed into a rousing mambo. It was fun to watch the call and response vocalizing between Gabriele, Bobby and Renato.

“Siehst Du Mich,” a German love poem was the encore, a fitting ending to a great show. Gabriele Tranchina has done well with her first CD. Let’s look forward to hearing more from her in the near future.
- Nightlifeexchange.com

April 14, 2010—Things Brazilian form the core of the new album by together vocalist Gabriele Tranchina, “A Song of Love’s Color” (Jazzheads). First off drummer Bobby Sanabria (who co-produced the album) teams with percussionist Renato Thoms for some driving batucada styled work that constructs a solid foundation for true Samba bliss. Beautiful bassist Santo Debriano locks into every groove and virtually guarantees that this date will be smoldering and red hot, depending on the song. Pianist Joe Vincent Tranchina plays all the right things at the right time and combines good taste with linear thrust.

Gabriele tackles some well-known and not-so-well known songs, triumphing over all. She has good pipes and a rhythmically astute delivery that makes "Love's Color" a wonderful exercise in sophistication and raw power. This one kicks! Beautiful!
- gapplegate.com/musicalblog

When I load a jazz vocal CD to listen to, I am looking for a CD that alters my mood; something to put me in a better state of mind, to soothe my soul. I look forward to a voice that is an instrument in and of itself, that blends with the accompaniment and yet stands out as the lead, the solo, the point of the CD. A Song of Love's Color, the latest CD by Gabriele Tranchina did more than alter my mood, it was transcendent! Her voice is so pleasurable to listen to that it was entertaining from the first note! Gabriele possesses that rare gift of control of her instrument, and a capacity to express her jazz in a multi-lingual way that defines a performer as a world music proponent. Her handling of the compositions and especially the arrangements of her husband, Joe Vincent Tranchina, appeared effortless, and at the same time ageless.

The opening track, "Chante Comme Si Tu Devais Mourir Demain (sing as if you were to die tomorrow)," gives you the first clue that this is going to be a well-executed CD, both musically and vocally.

The title track had a Tania Maria sound to it. "A Song of Love's Color," written and arranged by Joe Vincent, has a contemporary sound to it, fluid and engaging. Joe's piano work on this tune is blended with the rhythm section to carry forth the them of color. But the brightness and the true color comes from Gabriele's voice. A pleasant combination of tempo and tones, with plenty of dynamic interplay between the musicians and the singer.

Gabriele shows her classic Latin jazz knowledge and command of language taking on Jobim's "Samba De Uma Nota So." Gabriele's treatment of "One Note Samba" is different to say the least with her almost rap-like treatment of the vocal in the middle of the song. But overall her treatment is in the classic vein. And the band is tight throughout the delviery. Debriano, Thoms and Sanabria deliver the Latin groove that define this song, while Joe comps for his wife leaving plenty of room for her to express the fun of this song.

"Today" opens with a beautiful solo by Joe Vincent Tranchina. His composition is tender and soulful. Then out of the quiet emerges Gabriele, as the tempo and rhythm change, she adds her wonderful voice to the piece. The lyrics "and I know, a song I'll be singing, a sweet melody of love upon my lips" says it all!

My personal favorite was Joe Vincent's original composition, "Sing A Song Of Children." Gabriele delivers this song with such sensitivity and tenderness, you hear the love that went into this composition. It is a hopeful and uplifting song, sung with joy and belief in the message. A song that carries a message for all children, young and old!

On "Inutil Paisagem," Gabriele further demonstrates a command of the songbook of Jobim. It is another well executed piece.

"Asato Maa (Sat Chit Ananda)," Tranchina puts this traditional Hindu prayer & chant to his music and Gabriele adds the spirit to the composition. An expressive piece that achieves its reverent state, without giving up the entertaining quality of the song. I especially enjoyed Debriano's bass solo in this cut.

"Duermete Nino Bonito," a traditional Spanish lullaby with English language and additional music provided by Joe Vincent stays with the theme of the CD and treats an international piece with the attention to its origins and yet makes it universally acceptable with the vocal treatment of Gabriele. Her rendering of the final bars are so passionate, they sound as if she was singing to her own loved one.

"Voz" is a playful piece by Joe Vincent. Gabriele plays along with the band to express this bouncing latin influenced piece. Debriano adds another bass solo worth paying attention to.

The first 1:30 of "Solamente Pasion" are a piano solo that is notable in itself, but when it takes on its groove, the piano solo is lost in the rhythmic groove laid down by the percussionists. The latin vocals covering the lyrics of Thoms and Sanabria provide a background for Gabriele to show yet another dimension of her Latin Jazz talent.

And just when you think you have heard the full range of Gabriele's sensitivity when treating the lyrics in whatever language she sings, along comes "Seihst Du Mich," a beautiful German poem put to music by Joe Vincent. The richness of Gabriele's voice over the loving lyrics mingled with a soulful bass being bowed by Debriano all lead up to another one of Joe Vincent's incredibly sensitive solos. This piece is a great way to close out what I find to be a totally entertaining CD.

Gabriele's voice, stylings and multi-lingual command of jazz and the ballad are to be appreciated. A Song of Love's Color is a brilliant presentation of a world of jazz and ballads capably delivered by a worldly voice and global talent that is worthy of attention. Gabriele Tranchina delivers a notable set of songs on this release and is entertaining from the first note until the last.

Chuck Vecoli, Staff Wri - JazzReview.com

Come in tutti i generi, anche nel pop-jazz c'è chi riesce a distinguersi, ad avere una marcia in più. Prendiamo ad esempio la cantante di origine tedesca Gabriele Tranchina, che qui è all'opera con un paio di musicisti di alto livello, come il batterista Bobby Sanabria (che agisce anche come produttore) ed un contrabbassista come Santi Debriano.

Canta in sei ligue (inglese, francese, spagnolo, portoghese, hindi e tedesco) e spazia dalla chanson del brano che apre il disco alle liriche di Else Lasker Schüler del brano di chiusura, una composizione dai testi piuttosto complessi, che lei domina con bravura, riuscendo a dare quel particolare senso drammatico che sempre traspare dai testi della famosa poetessa.

C'è salsa, bossa nova, una ninna nanna cantata in spagnolo, ma su ogni brano regna una padronanza assoluta che fa la differenza fra i suoi sideman ed anonimi musicisti da studio. è un disco da cui si può, a parte l'ascolto per divertirsi, pure imparare come sia possibile rendere una chanson o un brano di bossa nova con originalità e virtuosismo strumentale senza per questo rovinarne il feeling.

Visita il sito di Gabriele Tranchina.

Valutazione: 3 stelle Elenco dei brani:
01. Chante comme si tu devais mourir demain (Michel Fugain) - 5:08;
02. A Song of Love's Color (Joe Vincent Tranchina) - 4:59;
03. Samba de una nota so (Jobim) - 4:00;
04. Today (Joe Vincent Tranchina)
05. Sing a Song of Children (Joe Vincent Tranchina) - 5:26;
06. Inutil paisagem (Jobim) - 4:25;
07. Asato Maa (Joe Vincent Tranchina) - 5:04;
08. Duermete nino bonito (traditional) - 5:07;
09. Voz (Joe Vincent Tranchina) - 4:32;
10. Solamente pasión (Joe Vincent Tranchina) - 3:59;
11. Siehst du mich (Joe Vincent Tranchina) - 6:18.
Musicisti: Gabriele Tranchina (voce); Joe Vincent Tranchina (piano); Santi Debriano (contrabbasso); Renato Thoms (percussioni); Bobby Sanabria (batteria). Stile: Jazz-Pop

Translation

"As in all genres, in pop-jazz some stand out, as having an extra gear. Let's take for ex. German-born singer GT, who is working here with a couple of high-level musicians, such as drummer BS (who is producer) and bassist SD"
"She sings in 6 languages (names them) and ranges from chancon of the opening tune to the opera of ELS on the closing one, a composition of rather complex lyrics which she controls well, succeeding in giving that special dramatic sense that always shows through in the works of that famous poet".

"There is salsa, bossa, a lullaby sung in Spanish, but on each piece an absolute mastery reigns, which distinguishes her sidemen from anonymous (we would say 'any old') studio musicians. It is a recording from which one can, besides listening for pleasure, learn how it possible to play a chanson or a bossa with originality and instrumental virtuosity without thereby ruining the feeling."

Vittorio Lo Conte
- All About Jazz Italia

April 13, 2010

German-born Gabriele Tranchina covers six, count 'em, six languages in this United Nations of a release. Her enunciation in each dialect is Waterford Crystal clear, and she sounds as comfortable snapping over a Mexican "rap" piece ("Solamente Passion") as on a gentle Teutonic ballad ("Siehst Du Mich"). On a few of the songs, however, the mix has Bobby Sanabria's enthusiastic drumming overpowering Tranchina's voice, as on "Chante Comme..." and "Samba De Um Nota So," obscuring her delivery and timing. Good, delivery but frustrating in reception.
- JazzWeekly.com

November 1, 2017

Media Alert: Gabriele Tranchina Of Sailing Ships and the Stars in Your Eyes (Rainchant Eclectic Records RER1001) Street Date: October 18, 2017
Gabriele Tranchina (voice, background voices (tracks 1, 4 ,6 & 8), Joe Vincent Tranchina (piano, keyboards, melodica (track 5), programming (track 12), clavés (track 3), background voice (track 2), Carlo De Rosa (acoustic bass, electric bass, background voice (track 2), Vince Cherico (drums, percussion), Renato Thoms (percussion, background voice (track 2)
http://www.gabrieletranchina.com


CD Review: https://www.allaboutjazz.com/five-women-xii--gabriele-trancina-rondi-charleston-julie-benko-sarah-jerrom-carol-welsman-gabriele-tranchina-by-c-michael-bailey.php

C. MICHAEL BAILEY November 1, 2017


Gabriele Trancina Of Sailing Ships and the Stars in Your Eyes
Rainchant Eclectic Records
2017

Polyglot would be an appropriate descriptor for a German-born, Parisian chanteuse, with Brazilian stylings, who is considered a cross between Ute Lemper and Tania Maria. This is what we have in Gabriele Tranchina, whose fourth release (and first since 2010), Of Sailing Ships and the Stars in Your Eyes, demonstrates the singer's firm grasp across styles, genre, and, yes, languages. Joined by husband and pianist Joe Vincent Trancina, who also provides the arrangements, and a fine rhythm section, Trancina provides an even dozen Brazilian-Latin infused original and standard selections. She sings in French ("Je Crois Entendre Encore"), Portuguese ("Vera Cruz"), and German ("Ein Alter Tibetteppich"). Tranchina's singing is seamless flowing from one language to the next making this recording very much a World music recording. The singer's voice is singular and well-balanced, capable of low purrs and assertive exuberance. Refined and fine is Of Sailing Ships and the Stars in Your Eyes. - C. Michael Bailey

http://www.wroyalstokes.com/2017/12/24/w-royal-stokes-best-and-notable-releases-of-2017/

BEST VOCAL RELEASE OF 2017
Gabriele Tranchina, Of Sailing Ships and the Stars in Your Eyes (Rainchant Eclectic Records) - Royal Stokes

The Moon Rises with Gabriele Tranchina

The title song of Gabriele Tranchina’s CD “Of Sailing Ships and the Stars in Your Eyes” displays her multi-octave, comfortably reached range; it’s a soothing, pretty composition by her husband Joe. The funky “Straphangin’” paints a story of blooming love found in the city subway. Tranchina’s approach is playful and light; listeners are rewarded with its sweet ending.

“Today” takes its time building melodic lines on piano. At her entrance, Tranchina warms us up slowly and easily, then jumps effortlessly to a doubled meter that quickly converts again, into swing. Rhythmically, she’s an artist who never loses her footing as she unravels the plot of each song. Adept at vocalese too, “Voz” is a memorable Latin-infused groove in which inventive percussion reigns.

Her new CD cracks wide open the pleasure of a well-written song and beautifully executed vocals, and just like a moonrise, is bathed in a lovely light.

When did you realize you wanted to sing?

I always enjoyed music and singing. I had no prior training, but I played a little guitar and loved to accompany myself. The decision to make it a profession came when I took a year off after finishing high school. I traveled through Asia. I sat in on some jams. People encouraged me and told me I should be singing. I was far from home and all the advice friends and family would give me, and it was time to ask myself what I really enjoy most. I decided to sing.

After returning from my travels, I contacted a friend of mine who was a musician and asked her how to go about my musical path. Auditions at music colleges were too hard for the beginner I was at that time. But I did pass the audition at Frankfurt University for a teaching degree with a major in music. When that was behind me, I decided to go to New York to deepen my studies.

How do you take care of your voice?

I am certified level III in Somatic Voicework™. The founder of this technique, Jeanie LoVetri, has been my teacher for a long time. I do my exercises at least four times a week. I try to warm up before a gig as well.

This technique helped me through a very hard phase a few years back when I was diagnosed with acid reflux. Aside from a strict diet, the exercises enabled me to continue my work as a singer as well as teaching my early childhood music program.

As a vocalist, what’s the best piece of advice you have ever received?

If I had to pick one I might go with one from Sheila Jordan: “Don’t sing it if you don’t feel it.”

Sometimes when you’re on stage you think you have to impress people with technique. But when your head enters the music making, the music leaves. I am trying to live by that advice.

How do your cultural roots and ability to speak English, German and French inform your music today?

Having grown up in Europe where you drive for a couple of hours and you are in another country certainly has its advantages. It’s helped me stand out as an artist.

One of the best things that happened to me was to end up in New York. I have the whole world present in one city. It is so enriching to meet people from all parts of the world. I love to listen to music from other countries as well. It broadens my horizon.

When I work on material, I don’t sit there and pick the languages I want to sing in but rather the music. If a song speaks to me and I’m very excited about it, I will go through the effort to learn it in its native language. The only time I would not do it would be if I felt my pronunciation is not up to par. Learning songs in other languages is a challenge that gets me out of my comfort zone. The good thing here in New York is, that you always find natives. I have received coaching on all the songs I recorded.

How would you describe the songs that your husband, Joe Vincent Tranchina, writes for you?

Joe’s material is extremely challenging. His songs often have a wide vocal range. The melodies are never easy to sing and his sense for harmony is very advanced. Most of his songs display beauty.

I love his versatility. I have sung everything from him, starting with Latin, Brazilian, swing, pop and songs that come from a classical background. The lyrics are often very gentle and romantic or promote peace and love for nature. A friend once said to me that when she listens to Joe’s music it feels as if she always knew it. That’s a nice compliment because it means the music goes into your ear and stays there.

Do you have a particular styling or era that you like the most?

For me the music has to be “real” and authentic.

Sometimes I hear great lyrics and they touch me deeply. Sometimes I hear a rhythm or groove that makes me want to jump up and dance. Sometimes I find music that transcends time or is of a meditative nature. I’m finding great material from various eras and all various parts of the world. I can’t deny that I love Latin and Brazilian music. I also love flamenco and gypsy music, Middle Eastern, Indian and African music.

I love jazz, blues, R&B, and some pop and the American songbook very much too. I deeply love Bach and a lot of classical music as well.

What were some of the highlights making “Of Sailing Ships and the Stars in Your Eyes”?

It was the first time I hired a producer to help me with a recording. This was one of the best investments I made because it enabled me to concentrate on myself when we were in the studio. I also had another set of ears listen to the band, saving us much time and helping us focus the sound.

When the band gets together to prepare for the studio recording, the love and the creative energy that generate from a recording session is very unique and special. We’re all there to give our very best.

On this recording we all pulled from the same string. All the suggestions the musicians made elevated each song to a higher level. After the recording session we added harmony parts and synth parts. It gets me out of my comfort zone to sing harmony parts as I don’t get to do it much in my regular life, but it’s also thrilling at the same time.

Working with Rick Savage and Joe on mixing and mastering the songs was great. We worked hard to have a balance of all instruments and have each one sound crystal clear. It’s fulfilling when a CD is mixed and mastered and sounds absolutely professional.

Talk about two tracks that are very different on that album.

My dear husband had the idea of adding a song called “A Song for India” to the mix after we were already done with the recording session. He laid down all the tracks and then asked me to sing and improvise over them.

I have to say the song was challenging to me. I also thought no radio station would ever play it as it exceeds 10 minutes; that it would be so very different from the rest of the CD because we didn’t have our band on this track and it might pop out too much. The song, which has no lyrics, brought me out of my comfort zone but there is just something wonderful about it. I am always imagining some dervishes twirling around to this song. In the end it turns out that many people tell us that this is their favorite. Radio stations played it more than I could ever have dreamed.

Another song that is very different is “Je Crois Entendre Encore” which is a classical song by Bizet. We had some disputes over this song when we were in pre-production. I actually thought it would be great to give it a Middle Eastern feel and instrumentation; my husband thought it would be great as a bossa nova. We tried many versions and ended up with a bolero. I love the tranquility of this song. It is the only song where I have a long “conversation” with the bass and there is no solo on it.

How are you marketing this CD?

It isn’t exactly jazz, but then it is. It isn’t exactly a Latin album, but then it is. And even though it is music of the world, it doesn’t really fit into world music category because that is associated with a very specific style. In short I am a radio programmer’s biggest nightmare.

However, we have received great radio play and our radio promoter markets it as “vocal jazz with a strong Latin influence.” I’m marketing though social media, my website, radio promotion and CD release parties and performances. I am also a NARAS voting member and have connected with many talented musicians. I’m finding those networks important.

The music I do promotes peace, well-being and healing. I am trying to connect with others who are on that same path.

I work with a wonderful photographer and we put a lot of time and effort in the look of each CD. The cover and how I present myself is a big part of my branding. I’m also finding supporting good causes that are important to me is part of my branding. I was a guest at this year’s RoundGlass awards. This organization promotes world peace and supports many necessary and good causes. I was so impressed by the awards, the music and the causes they support that I am becoming a member.

How do you know each of your band members?

Joe, our pianist, has the rare gift to play really well behind singers and he enjoys working with them. He is also very gifted as an arranger/composer and lyricist. Joe is very sincere and humble; once he puts his teeth into something, he doesn’t stop until it’s as close to perfect or totally perfect. I met him through a singer friend of mine. I started working with him as vocal coach and soon after we were a couple and a year later married.

Carlo DeRosa, our bassist, came recommended by Renato, our percussionist. It was at a time when I wanted to dive deeper into Latin music. I was looking for a bassist who is versatile and can play jazz and Latin music equally well. Carlo is that kind of a person. He’s thorough and supportive and has a calm persona.

Vince Cherico has worked with Joe off and on over many years. He has a wonderful sense of humor and his knowledge of rhythms from all over the world is tremendous.

I met our percussionist Renato Thoms at LaGuardia Community College. He performed along with my husband. I loved the way he played and asked for his card. I have worked with him for many years. Whenever I possibly can, I have him with me. Renato has the gift to play exactly the right thing at the right time. He’s a tasteful player and a good friend.

As we don’t live in NYC anymore, we have met a lot of great players who relocated to the Hudson Valley. At the Inkwell I worked in a trio with Joe on piano and Carol Sudhalter on sax/flute. When the opportunity arises, she’s certainly a person I enjoy working with.

What does Rainchant bring to the table and why do you enjoy working with them?

Joe and I formed Rainchant Eclectic records in 2017, as we are interested in producing not just jazz but a variety of genres. We couldn’t find labels that were giving us a versatile platform and more freedom. Even though most people are no longer on a label, I still feel that being on a label has value. Radio stations are more likely to play your songs, which is important to me as I would like my music to be heard by as large an audience as possible.

What did you like about the Hudson Valley Jazz Fest?

I love that I was there when it all started. Steve Rubin, the founder, is a dear friend of mine. When we moved out of NYC I thought I’d never make a friend. However, there was one restaurant in Warwick that started having jazz regularly and Steve put a band together. When we performed he was very inviting to all musicians and because of that, the gig became a hang.

I was astounded how many talented musicians live in the Hudson Valley. Steve started this festival to give the local musicians a platform to perform.

The festival started out as the Warwick Valley Jazz Festival but expanded to a much wider area. It is tremendous how many great artists have performed over the years at this festival and how much love and effort Steve has put into his little baby.

What are some of your favorite places in the Tri-State area?

Since we moved to the Hudson Valley, I have to say that I fell in love with Upstate New York. It is so utterly beautiful here. Sometimes we pinch ourselves to see if this is real. We love Warwick, Sugar Loaf, Rhinebeck, New Paltz and Woodstock. I love going to the beaches on Long Island especially Montauk. I’m finding Princeton to be a very beautiful quaint little town and I love Montclair. We also like the countryside of Connecticut.

What is your biggest challenge?

I have not yet found the courage to make the transition to being a full-time performer. I know that eventually I’ll get there. I’m currently running two businesses, my singing and an early childhood music program. I often find myself two steps behind catching up with life. To eliminate this kind of drain would be great.

How would you like to improve and grow?

I’d love to travel to places like Rio, Cuba, Morocco and maybe some other parts of Africa to study singing and music of those cultures. I’d also try to catch another week at the Omega with Bobby McFerrin. I did two of them and learned at lot. His circle singing is really uplifting. I’d also like to take lessons with Ismael Miranda, if I ever get the chance.

Is there a genre yet to be explored?

There are many genres I’m interested in but it takes a lot of time to dive into them. I’m planning on producing some children’s music and maybe some new age music. But I will mainly continue to stick with jazz and the many jazz-influenced genres.

What do audiences most want to know about you?

They often ask me how I learned the all languages I sing in, and if I understand the lyrics. I also am often asked why I have an accent when I speak English, but not when I sing. That has to do with the length of the vowels and the rhythm of the melody.

Why the name “Inkwell” for your trio?

Carol, Joe and I once tried to coordinate gigging together in Europe. We put a trio together. We had worked at a venue called the Inkwell and the name stuck with us.

Gigs for this year?

This year is dedicated to CD release-related events. We are still working on lining some up. We’re looking forward to playing for the first time at the Falcon in April and hope to be part of the Newburgh Jazz Festival and the Hudson Valley Jazz Festival again this year.

Where do you most want to play that you have not yet?

Generally I would love to get into the festival circuit in Europe during summer, so I can spend a little more time with my family in Germany. I love Dizzy’s Club Coca Cola in NYC. I think it’s one of the most beautiful clubs. I’d also love to play the Montreal Jazz Festival and sing at Carnegie Hall or any other great concert hall or space with wonderful acoustics and atmosphere.

Other comments?

Thank you for the opportunity to be interviewed. It was a real pleasure to meditate over your questions.

For more information, visit www.sonicbids.com/band/gabrieletranchina. - Debbie Burke