Full bio, audio and video samples: http://www.gabriellestravelli.com/
Reviews below and more online:
“Listening to the jazz singer Gabrielle Stravelli is like imbibing a potent cocktail whose flavor changes as you drain the glass. In the first couple of sips, the predominant taste is the sparkling wine that has drifted to the top, for Ms. Stravelli’s bright, rippling voice exudes a natural effervescence. Before long, it darkens, and the heady liquor underneath kicks in…As she dipped and swooped, twirling notes and phrases with a confidence and playfulness that recalled Ella Fitzgerald in her prime, Ms. Stravelli began interpreting lyrics with a ferocity that her vocal pyrotechnics accentuated…”
— Stephen Holden, the New York Times
“This outstanding singer is already a veteran of the New York club scene but still young enough to improve with every appearance—even though she’s already one of the best around. Her current show starts in a manner reminiscent of her director-mentor, the brilliant Marilyn Maye, with a fast, swinging jazz waltz medley (“While We’re Young” fused to “Happy Talk”), which proves that it’s no sin to learn from the best. Over the course of the too-short set, she comes increasingly into her own, particularly with a sequence of contemporary songs and a blues original titled “Runnin’ Back for More.”
— Will Friedwald, Wall Street Journal
“Jazz vocalist Gabrielle Stravelli’s third album, Dream Ago, was the core subject of an intimate performance at The 75 Club…where she proved that having fun needn’t mean skimping on rigor. From her delectable original “Cake of My Childhood” to Cole Porter’s “Dream Dancing” (seamlessly arranged by O’Leary), the positive vibrations of Stravelli’s musical mind activated the room with their inspiration. ”
— Tyran Grillo, All About Jazz
“Irresistibly polished and triumphant. Let’s hope she’s primed for national appreciation.”
— David Finkle, The Huffington Post
“Gabrielle Stravelli has a groovy ‘70s-chick vibe and a supple, versatile voice that can navigate multiple genres with ease; think Joyce DeWitt with bona fide pop-jazz chops…She mixes original songs into a set of standards old and new.”
— Adam Feldman, Time Out New York
Award-winning vocalist and songwriter Gabrielle Stravelli has garnered critical acclaim and a loyal following through her rich sound, original compositions and her unique take on material from the Great American Songbook as well as by contemporary artists as varied as Willie Nelson, Joni Mitchell, Stevie Wonder and John Fogerty. A trained actor, Gabrielle has a soulful sensitivity for the story in the lyric and was called “a powerhouse of individual expression” by David Finkle of The Village Voice.
A few highlights of Gabrielle’s work in recent years include premiering world-renowned pianist Fred Hersch’s newest song cycle “Rooms of Light” and appearing in the premiere of Wynton Marsalis’ Abyssinian: A Gospel Celebration on a US tour with Wynton and the Jazz at Lincoln Center Orchestra. Gabrielle headlined the 2018 WBGO Jazz on the Mountain Festival, the 2016 Eleuthera Jazz Festival and the Maree Sonore Festival (Venice) in addition to headlining three US State Department-sponsored “American Music Abroad” Tours. Last January Gabrielle released an album of original material that received five stars from DownBeat Magazine: http://downbeat.com/reviews/detail/dream-ago
Note to participants from Gabrielle:
Vocal Workshop Itinerary
Hosted by Gabrielle Stravelli and Pat O’Leary, bass
“Participants should come to the workshop prepared to sing one song that are “American
Standards”- anything written by composers like Irving Berlin, Cole Porter, George and Ira
Gershwin, Richard Rodgers, Harold Arlen, Duke Ellington, etc.
I ask participants to prepare two songs in different tempos. One song should be an up-
tempo. The other song can be EITHER a ballad OR a song in a bossa nova or “latin” groove.
Ideally, participants should bring music in their key or they can come to the workshop
prepared to tell Pat and the pianist what song they are singing and what key they sing it in.
If the singer doesn’t know what key they perform a song in, we will help them to figure that out.
The workshop will begin with a performance of two songs by myself, Pat and the pianist.
We feel it is best to start the workshop by giving the participants a sense of how we
approach music and performance.
After my performance I begin calling participants up to work on their material individually. Everything we discuss with participants is done in an “open” manner so that everyone watching can hear as well. Participants learn by doing, but also learn a lot from watching their fellow singers work on material.
First, I coach the singers on how to talk to the band and explain to the instrumentalists what key their music is in and what tempo they would like it played in. I ask that each singer “count off” a tempo; if they are struggling with that, we work on learning how to do that. As they sing, I take notes on various aspects of their singing…I assess whether they need help deepening their swing feel. I sometimes assist with pronunciation of American English lyrics, if necessary. I assess their ability to connect with the audience and communicate the story of the lyric. I assess whether they are connecting with the material on an emotional as well as musical level- are they offering us a carbon copy of a famous singer’s rendition of the song or are they offering their own unique interpretation? I listen for accurate intonation (also known as “pitch”) and other basic aspects of vocal technique.
When they finish, I always begin by first telling the participants what I liked about their
singing. I feel it is of the utmost importance to create a positive and supportive environment for people to work in and take chances in. If participants feel supported, they are more likely to take chances – and when they take chances, they can really improve and of course, have fun!
After we discuss what was good, I ask the singers to try various exercises related to what I
feel they need to improve on. If they need help improving their sense of “swing” we work
with the pianist and Pat to develop that. If they are struggling to connect with the lyrics I
might ask them to recite the lyrics as a monologue. If someone is struggling with basic vocal technique, I will have him or her do some simple but effective vocal exercises before singing the song a second time. I have many exercises and methods to work on all areas of singing. I don’t know which of them I will use until I hear the singers and see what they need help with. After trying different exercises together, I have the singers go through the song again, keeping in mind whatever we just worked on.
That is basically how the workshop proceeds. I can’t stress enough that Pat and I really keep the energy upbeat and fun. Music is supposed to be enjoyable, even when you are working to improve. I love singing more than anything and I love working with students who share that passion.”
July 19, 4pm
Masterclass fee: RM50
Masterclass fee + admission for 1 night show: RM80
*RM10 off for students with valid Student ID, at the door.