Marcus Goldhaber

Chet Baker-inspired vocalist Marcus Goldhaber put out an excellent debut record (ÒThe Moment AfterÓ) a couple of years ago, and it was just that; a good reinterpretation of standards with the subdued interpretation of well known lyrics. This time around, Goldhaber, along with the working Jon Davis Trio (Davis/p, Martin Wind/b, Marcello Pellitterri/dr) tackle not only some cool toned standard fare regarding the ups and downs of relationships, but has added his own adroitly observant pen into the fold, with some surprisingly successful tunes. Regarding the Òlove standardsÓ-ÒI Get Along Without You Very WellÓ and ÒNo Moon At AllÓ feature the cool toned crooner in a hipper than hep environment with the sublime support of DavisÕ trio. His own tunes, which deal with the struggles of commitment in a relationship, are pensive, clever, ironic, and completely in tune with modern male angst. ÒIn The Oeuvre Of The In-BetweenÓ and ÒYouÕre Beautiful, You Know ThatÓ have some of the most poignant lyrics since early Tom Waits. ÒA Felony Called LoveÓ has a wit about it that will have you nodding in agreement. This is a welcome and fresh sophomore release by a guy who needs to get back on the touring trail.
 - JazzWeekly.com

Jazz vocalist Marcus Goldhaber helps you start your morning right with a mellifluous register that makes you enjoy waking up to, and eases you comfortably into the day. His latest release Take Me Anywhere has him accompanied by the Jon Davis Trio and features Hendrik Meurkens on harmonica. Each track has Goldhaber and the trio rolling into a selection of standards such as Hoagy CarmichaelÕs ÒI Get Along Without You Very WellÓ and Irving BerlinÕs ÒTop Hat, White Tie And TailsÓ traipsing alongside original tunes written by Goldhaber and Jon Davis like ÒI Fall ApartÓ and ÒYouÕre Beautiful, You Know That.Ó Goldhaber has the refined stylizing of Michael Feinstein with a elegiac glide reflective of Cole Porter. Each track is as poetic as a Shakespearean sonnet and creates an intimate setting between the listener and Goldhaber.

The gentle samba shuffle in the percussive beats of ÒI Fall ApartÓ are covered in twinkles of agile piano keys dangling from its branches, while the sparse layers and fluid lines of ÒTop Hat, White Tie And TailsÓ have a leisurely canter that massages the listenerÕs aural senses nicely. Goldhaber is not overtly flirtatious, but his vocals have a subtle seductive quality that entices folks with bundles of warmth and an affable voicing like in ÒA Felony Called Love.Ó He sounds like an incurable romantic walking through a spritz of soothing piano notes chain-linked together along ÒI Fall In Love Too Easily.Ó Goldhaber and Davis show soft-pop sensibilities in the liquid glitters sparkling tenderly through ÒShe KnowsÓ with lyrics that would make any woman swoon, ÒLast night I stayed awake up so I could watch you fall asleep / I donÕt want to make a sound, but I couldnÕt stop my heart from beating up and down inside my chest / And I thought it would burst through / Until you turned and whispered I love you.Ó GoldhaberÕs songs live up to such an ideal lyrically and musically that few artists can reach this euphoric state. It is music that you would not mind starting off your day with, in fact, it should be highly recommended.

GoldhaberÕs album Take My Anywhere has 17-tracks that infuse blissful sensations with mellifluous strokes garnering an elegiac mood that complements GoldhaberÕs relaxing vocal stride. His vocals linger on the moments of joy, and ache to be there when they arenÕt. His songs are terribly romantic, and even more dangerous is he passes that trait onto the listener. With 17-tracks to choose from, he reels the listener into his pursuit for an ideal euphoria, and by the ending, your tenacity to reach it becomes as strong as his.
 - JazzReview.com

There is forever room in the jazz universe for the singer with je ne sais quoi that keeps everyone undecided about whether she or he is a jazz singers or... just an unusual pop warbler. Such is the case with Carol Fredette and Marcus Goldhaber.
Many jazz fans have heard of Carol Fredette, a veteran New York jazz singer, and will be curious about this release, which marks her return to recording after around a ten-year absence. She is an enunciator, a storyteller who takes much concern with the phrasing of every line. You won't find this lady scatting. With her style, she is quite the professional, quite at home with the musicians backing up her every move. The program is composed of classic American and Brazilian pop-jazz. Delivery is the key with Legrand's "I Was Born in Love with You" and Cy Coleman's "Would You Believe"; and perkiness drives "A Fine Romance" and "Love Thy Neighbor." According to the "linear" notes, Fredette has long been attached to Brazilian music and has "never done a set since [hearing sixties albums of Jobim and Gilberto] without including a Brazilian song in it." In this set, she includes Jobim and Lees' "Vivo Sonhando (Dreamer)" and Silva, Teixeira, and Hendricks "O Pato (The Duck)," in addition to imparting a Brazilian jazz flavor to few selections. Delivery, perkiness, and Brazilian attitude come together in the last song, written by Kenny and Eva Loggins, "Wait a Little While," from which the recording's title derived.

On first hearing Goldhaber, one is instantly reminded of a number of singers, but particularly trumpeter Chet Baker, who enhanced his reputation with vocals. In addition to Goldhaber's sound, his new release features many original compositions and arrangements with pianist Jon Davis. His compositions are on the order of prose poems, pithy little narratives about love and misery. These songs can be very effecting, the titles indicate the content - "Take Me," "The Oeuvre of the In-Between,' "You're Beautiful, You Know That," "I Fall Apart," or "A Felony Called Love." Cute. Yet they strike a chord, and lines linger well after shutting it down. The fresh arrangements of such standards as 'No Moon at All" (many will surely mistake Goldhaber for Baker for at least a few lines), "I Get Along Without You Very Well," "A Lovely Way to Spend an Evening," and "Top Hat, White Tie and Tails" round out an entertaining package. - JazzChicago.net

Marcus Goldhaber takes a variety of classic and original jazz tunes and turns them into gold on his new release Take Me Anywhere. As the title suggest the sounds on the new album can literally take you anywhere at any time. This timeless music with the sounds of traditional jazz backed by smooth and reflective vocalizations is reminiscent of early Frank Sinatra and Harry Connick Jr., 

As Marcus was growing up, his mother would call him over to the piano to teach him a new song every night. During this time he listened to a wide range of music that included Robert Smith, Jim Morrison, Sarah Vaughn, Elton John, Claude Debussy, Eddie Vedder, and Chet Baker, but at night heÕd always go right back to the piano with his mom after dinner.

Because of his exposure to music at an early age and the ability to learn the songs on the piano, today he is right at home with jazz and feels a kinship with genre interpreting the songs of Dorothy Fields, Sammy Cahn, Harold Arlen, Jimmy Van Heusen, Sammy Fain, and many others. 

Marcus Goldhaber offers listeners the perfect blend of yesterday and today, yet with a modern approach that stays true to the style of his music.

Take Me Anywhere comes with promise of bringing these great tunes back to the younger generation so they too can enjoy their timelessness and pass them on the their families. 

ÒWhat a wonderful straight-ahead jazz vocalist from Buffalo; part Chet Baker meets a breathier Bobby Darin. Strong arrangements of some jazz standard classics and plenty of strong originals, especially the swinging lilt of ÒTake MeÓ with Hendrik MeurkensÕs tasteful harmonica solo. Jon Davis and his trio play with just enough sauce to keep the songs from dragging.Ó -Culture Catch on ÒTake Me AnywhereÓ by Marcus Goldhaber and The Jon Davis Trio

Visit Marcus GoldfaberÕs website for media, merchandise, sound samples and more. Take My Anywhere is available now at CD Baby and iTunes. - Ejazznews.com

In 2006, Marcus Goldhaber made a strong impression with his recording debut, The Moment After. The cool-toned but highly expressive singer displayed a real affinity for vintage standards, tunes taught to him as a child by his mother who was a professional pianist. He has always remembered those times, even while he became involved in theater, musical shows and acting. After five years of steady work as an actor, he realized that singing was his main passion, and that has become the focus of his professional life.

Take Me Anywhere not only features Marcus' singing but his debut as a songwriter. While writing his first lyrics, he often remembered an old trick of Irving Berlin's; simply think of another way to say "I love you." Seven songs, including several that have the potential to become standards, were co-written by Marcus and pianist Jon Davis. With Davis, bassist Martin Wind and drummer Marcello Pellitteri forming a very supportive rhythm section and
contributing melodic solos, Marcus Goldhaber is free to express himself, both through his words and his singing.

The music on Take Me Anywhere forms a unified suite that traces the stages of a love affair. "No Moon At All" has ironic lyrics and serves as a fine introduction for the quartet. "I Get Along Without You Very Well" features unusual words that say the complete opposite of what they really mean.

"Take Me" was the first original that Marcus ever recorded, a tribute to his grandparents' 54-year marriage. The nostalgic piece has a guest spot for Hendrik Meurkens on harmonica. The protagonist sounds joyful on "With Plenty Of Money And You" but is confused and indecisive during "In The Oeuvre Of The In-Between." "A Walk" gives him a chance to think about love before becoming quite tongue-tied on "You're Beautiful, You Know That." Marcus describes "I Fall Apart" as about being hurt so badly that one fears love and swears it off. Despite it all, one knows that love is unavoidable. "Top Hat, White Tie And Tails" shows that anything is possible. The playful "A Felony Called Love," a 3 a.m. saloon song, is about a lover who loves a bit too much and too freely, but still longs for a particular person.

Love is impossible to avoid, as becomes obvious during "I Fall In Love Too Easily," "She Knows" and "This Is A Lovely Way To Spend An Evening." Tender feelings are expressed during "I've Never Been In Love Before" and "My Ship" before the story concludes with the realistic but optimistic "Look For The Silver Lining." As a bonus cut, or what Marcus calls "an after-dinner mint," the CD concludes with a joyful "When I Take My Sugar To Tea." Marcus Goldhaber's voice perfectly fits the material and vice versa. His talents as both a singer and a songwriter promise to make him an important and popular musical performer for many years to come.

-Scott Yanow
Author of ten Jazz books including The Jazz Singers, Trumpet Kings, Swing, Jazz On Record 1917-76 and Jazz On Film - Scott Yanow

Just listen to Goldhaber's "Like Someone in Love" and you will realize that this man can sing with style, originality and challenging romance.

The Moment After is cleverly crafted, vivacious and happy. The bass is right on, the piano is eloquent, and the splashes of the drums sparkle. I love this album. It is a blend of a free form smooth jazz blended into unorthodox musical virtuosity and richly evocative voice. Two thumbs up. Buy it. You will enjoy it.

-Maximillien de Lafayette - Maximillien de Lafayette

Growing up in Buffalo, Marcus Goldhaber was blessed with a mother well-versed in the Great American Songbook and eager to pass along her musical appreciation. So, each evening young Marcus' mom beckoned him to the piano with her familiar catchphrase, "Here's one you should know," and taught him another Cole Porter, Irving Berlin, Frank Loesser or Dorothy Fields gem.

A Few decades have since passed, during which Goldhaber tried his hand as an off-Broadway actor and a soap star before committing himself to the music he was raised on.

Now, on his debut disc, Goldhaber proves how good a student he was all those years ago. He is often likened to John Pizzarelli and Chet Baker, and both comparisons are valid. Though he lacks both Pizzarelli's easy natural sense of swing and the chilling beauty of Baker's enveloping fogginess, Goldhaber rivals the Jazz instincts of both, proving a solid saloon-style ballader.

His retro playlist is thoughtfully appealing, effectively blending such durable standards as "Honeysuckle Rose," Keepin' Out of Mischief Now," and "Be Careful, It's My Heart" with pop chestnuts like "Old Cape Cod" and "You're Gonna Hear From Me." His arrangements, co-crafted with pianist Jon Davis, may not be the most imaginative ever written, but all are ideally suited to his velvet tone and narrowly focused range. And, he has wisely surrounded himself with four sage players - Davis, bassist Paul Gabrielson and alternating drummers Kyle Struve and Will Terrill - who know how to bring out Goldhaber's best without ever swamping his gentle sound.

-Jim Santella, JazzTimes - Jim Santella

Newcomer Goldhaber puts a heartfelt, sometimes heartbreaking spin on such standards as "Like Someone In Love" and Honeysuckle Rose," finding the soul in each note with his no-frills approach.

3 stars (out of 4)!

-Jess Cagle, People Magazine - Jess Cagle