If you are considering pursuing a career as a singer, you will find there are several options for you to choose from. For example, Sylvia Brooks, jazz vocalist, uses her voice as the main instrument in her music. However, you can also choose to be a backup artist, concert singer and more. Regardless of what type of artist you wish to be, there are certain things you must do and qualities you must have to succeed. Learn more about pursuing and reaching your dreams of being a vocalist here.

Education

There is no question that there are many singers throughout history who have become successful and even icons of their generation with no type of formal singing education. However, there are some benefits of seeking professional training. You can learn control that may not be possible for self-taught individuals. Additionally, even if you choose not to seek formal education, you will likely use the services of a professional coach at some point. Be willing and open to learning something new to become an amazing singer, such as Sylvia Brooks, jazz vocalist.

Voice Quality and Acting Ability

The quality of your voice is going to affect whether or not you are successful in your chosen career. Keep in mind, modern recording artists, including Sylvia Brooks, jazz vocalist, aren’t going to require the vocal power or the range that a big band singer required in the 1940s. Some specific abilities that you should possess as a singer include vocal abilities, intonation, rhythm, timbre and timing. You may also benefit from some basic acting skills to tell a story with your song.

As you can see, becoming a great singer takes more than just a great voice. Learn more about jazz music by contacting us today.

Are you in charge of booking the entertainment for an upcoming event? Do you want live music but are unsure of what to choose? If you are trying to create a mellow and relaxing environment for the event, then hiring a jazz singer, such as Sylvia Brooks, classic American jazz performer, may be the ideal solution. However, to ensure you make the right decision, consider the factors highlighted here.

Make Sure Jazz is Right for the Event

While a live jazz singer may seem ideal to you, make sure this is the case for the event in question. To do this, determine the event’s tone. For example, if you are hiring the entertainment for a business conference or other professional event, then keeping things “low key” is important. Hiring a singer such as Sylvia Brooks classic American jazz performer, will be great. However, it may also be suitable for the reception at your wedding. Before jumping in, just make sure that jazz matches the tone of the event that you are planning.

Contact Various Agents

Another crucial step is to contact the agent for any jazz singer you are interested in hiring. These are the people who will be able to let you know whether or not the person you want is available. There are some jazz singers who may only perform at certain venues or at certain times. These are all things you need to find out so you can hire someone who can accommodate the time and place of your event.

Hiring Sylvia Brooks, classic American jazz performer is the right choice if you want your guests to be entertained without the music won’t be so loud and overwhelming that they can’t have a conversation. You can contact us to learn more about booking a jazz artist for your next event or party.

Do you love jazz music? Are you new to the genre? Everyone who has ever heard this style of music will agree there is something amazing about it. If you want to get to know more, and learn about some of the most popular, modern singers, such as Sylvia Brooks, female jazz singer, then you are in the right place. Learn more about jazz and what it has to offer here.

Common Jazz Repertoire

One of the best places to start when you are learning about jazz music is with the repertoire. In most cases, the songs that are popular in this genre are called “standards,” instead of cover songs. If you want to really understand and “feel” jazz music, you have to not only hear the words and the music, but also understand the story behind it. Jazz is music that can speak to your soul, but only if you let it.

Get to Know the Most Popular Songs

After you have built up your repertoire, then you should become familiar with some of the most popular songs from jazz history. Jazz dates back decades and decades. This means you may have to spend some time getting to know the most popular songs available. Many new jazz artists, such as Sylvia Brooks, female jazz singer, even release their own interpretation of older songs, which is a great way to listen to old and new takes at the same time.

Some say that jazz music is something that you either love or hate, and while this may be true, it is something everyone can appreciate. Jazz music, such as what is produced by Sylvia Brooks, female jazz singer, is emotional and soulful, which is something many people can relate to.

Contact us to learn more about the jazz music that is popular today.
With music, sometimes it’s the songwriting that makes a difference. Other times, the voices and instruments and how they execute are key. But then there’s that time when a reworking of what’s written is the focal point. That’s where vocalist Sylvia Brooks comes in, hiring several Los Angeles-based arrangers for her third album, The Arrangement (2017).

The lineup varies from song to song. Collectively, the players are: Otmaro Ruiz, piano; Sezin Ahmet Turkmenoglu, bass; Aaron Serfaty, drums and percussion; Kim Richmond, alto sax; Bob Sheppard, tenor sax; Francisco Torres, trombone; Juliane Gralle, bass trombone; Brian Swartz, trumpet; Ron Stout, flugelhorn; Will Brahm, guitar; Quinn Johnson, piano; Trey Henry, bass; Tom Brechtlein, drums; Michael Stever, trumpet; Jeff Driskill, sax; Jeff Colella, piano; Kendall Kay, drums; Chris Colangelo, bass; Bruce Babad, flutes; Larry Koonse, guitar; Christian Jacob, piano and Fender Rhodes; Will Brahm, guitar; David Hughes, bass; Jamey Tate, drums.

Brooks brings warmth and a bit of joy to Hank Williams’ “Cold Cold Heart.” Rather than wallow in the misery of being mistreated by a loved one, Brooks sings it with vigor, as a wronged person turning the situation into a positive, by taking charge. Her scat enhances Driskell’s tenor solo. The horn section gives a swing feel to the song.

Major kudos to Jacob for the arrangement of “Eleanor Rigby.” His approach adds an elegance seldom heard in a cover of this Beatles classic. The flutes and Rhodes provide a haunting quality. Babad’s tenor solo injects a romantic touch. And Brooks’ voice is charming throughout.

I’m not sure what it is about “Besame Mucho” that so many jazz artists interpret it. This is easily one of my favorite renditions. Brooks takes it slow with this Otmaro Ruiz arrangement. The congas give it a Latin feel, appropriate considering the songs origins. The soft horns add a symphonic element.

Other notable tracks include “Body and Soul,” “Maybe I’m a Fool” and “The Tender Trap.”

This project came together with Brooks picking Ruiz, Colella, Jacob and Johnson. She gave them two instructions. First, they must use a combination of brass and reed instruments. Second, they could choose the musicians they felt would best serve the direction of the music. The combination is a perfect match as the arrangements are fresh and engaging, the musicians are rock solid, and Brooks’ soothing, charming voice completes the package.

Brooks is a native of Miami. Her father, pianist/arranger Don Ippolito, was a first-call talent who performed with several jazz heavyweights, among them Stan Getz, Buddy Rich, Peggy Lee, Sarah Vaughan and Dizzy Gillespie. Brooks’ mother, Johanna Dordick, was a conservatory-trained opera singer. Though influenced by her parents in music, Brooks first took the stage as an actor. After moving to Los Angeles, Brooks returned to her jazz roots.

Sylvia Brooks showcased songs from her third record, The Arrangement, at Catalina Bar and Grill, with a solid group of players. Some featured tunes were: “Night and Day”, a cool and deadly ballad, and “Guess Who I Saw Today”. Jacob took the helm for “Midnight Sun” with Brooks singing passionately, with saxophone embellishing. Joining the headliner, was Cathy Segal Garcia for Jacob’s stylish arrangement of the Beatles’ “Eleanor Rigby”, with an injected saxophone solo. With only piano, she seductively sang “Maybe I’m A Fool”- an original, and united with full band was “The Tender Trap” bolstered by piano solo, along with longing “Never Let Me Go”. Concluding the show was sultrily sung “Angel Eyes” with detailed band playing, to draw a standing ovation.
Vocalist Sylvia Brooks has been well versed in music for most of her life. Her father was Don Ippolito, who worked with some of the best in the business. A pianist/arranger he was working with such luminaries as Stan Getz, Peggy Lee, Sarah Vaughn, Dizzy Gillespie and Buddy Rich. Brooks’ mom was a trained opera singer who was also adept with pop and standard tunes in clubs. Brooks began to study acting though she was always attracted to singing jazz specifically. She worked with Tom Garvin and eventually recorded CD’s with Kim Richmond, Otmaro Ruiz, Chris Colangelo, Kendall Kay, Larry Koonse, Bob Sheppard, Jeff Colella, Christian Jacob, Quinn Johnson and other tops musicians. We have to state that she has great judgement in the musicians she works with. The Arrangement is her third CD. Some gems in the recording include “Body and Soul”, “Eleanor Rigby”, “Guess Who I Saw Today”, “Night and Day”, “Angel Eyes” and three of her own tunes, “Sweet Surrender”, “Maybe I’m A Fool” and “What Was I Thinking (The Mirage)”. We think she’s well on her way to a great career as a jazz stylist. Catch her when she is in your area.
Vocalist Sylvia Brooks likes to provide her music a noir patina, that smoky and dark evening tone preferred by the likes of the fictional hard men: Sam Spade, Philip Marlowe, and Jeff Markham. On her third recording, The Arrangement, this patina is given a high buff shine into something more contemporary, without losing any of the inherent sexiness of the music and its delivery. The Arrangement is a delicious double entendre on the word “arrangement,” juxtaposing the darker side of love with a play on “arrangement,” here meaning the musical arrangement of the 14 selections contained herein. Miles Davis had made much of the importance of musical arrangement on his famous 1949 Nonet sides, showcasing the arrangements by Gerry Mulligan, John Lewis, Gil Evans, and John Carisi. Brooks looks back at this music, bringing the art of arrangement forward, her arrangers retaining an emphasis on soft soundscapes and counterpoint. The Arrangement is a project where Brooks directed her various arrangers: Otmaro Ruiz, Jeff Colella, Christian Jacob, Kim Richmond and Quinn Johnson, to accomplish two things: they had to incorporate both reeds and brass and, they could choose the musicians they thought would best complement the pieces. The results are plush and direct, smartly outfitted with soft smoothness. Brooks’ voice possesses a superior pliancy, enabling the singer to adapt to manifold musical environments. These environments include Ruiz’s humid Latin affairs, “”Perhaps,” “Midnight Sun,” (arranged by Kim Richmond with Ruiz on piano) and ”Besame Mucho;” and Jacob’s intelligent and swinging contemporary touch (“Eleanor Rigby, ”Never Let me Go”); and Quinn Johnson’s blues-swing infused pieces (“Cold Cold Heart,” “What Was I Thinking”). What all of the arrangements have in common is a svelte tautness that is as comely as it is durable. Brooks’ voice stands front and center in these expertly-crafted songs, a voice full of experience and learning, deftly prepared for any material, as is evidenced by this fine recording.
Sylvia Brooks, who has been singing and acting in Southern California during the past decade. Her voice is attractive and alluring, her phrasing is swinging, and she always sings in-tune. Ms. Brooks has had some success with her first two CDs, Dangerous Liaisons and Restless, which often found her singing in dramatic fashion while looking back towards the film noir era of the 1940s and ‘50s.
The Arrangement is her most jazz-oriented set to date. Performing 11 familiar standards and three originals, Sylvia Brooks performs with top artists (mostly from Southern California) on arrangements contributed by Otmaro Ruiz, Quinn Johnson, Jeff Colella, Christian Jacob and Kim Richmond. Her singing is always appealing while her improvising is subtle. It is obvious that Ms. Brooks is a top-notch singer.
While some of the arrangements modernize and reharmonize the standards, the best performances are the ones that have charts that let the music breathe and include some space. The most rewarding renditions include “Eleanor Rigby,” a swinging “The Tender Trap,” “Angel Eyes” and the three originals. It is particularly rewarding hearing the singer perform her “Sweet Surrender” as a duet with pianist Christian Jacob. There are also occasional statements from sidemen with the solos of Ron Stout on flugelhorn and tenors Bruce Babad and Bob Sheppard being standouts.
The Arrangement (available from www.sylviabrooks.net) is Sylvia Brooks’ finest recording to date. It makes one look forward to her Catalina performance of Wednesday June 7. Scott Yanow
The queen of jazz noir changes her look and sound a bit but the cover shot still smacks of a femme fatale slinking down a hotel hallway. Corralling the crème of LA’s jazzbo community to assist at all levels of the game, she writes a little more, digs some different sounds, but never loses sight of her laser focus as being a top jazz singer that understands her lyrics and knows how to make them new. Chops like this are practically one of a kind and are not to be missed. The reigning queen reigns on. – Chris Spector- Midwest Record
SYLVIA BROOKS/Restless: Utterly smoking jazz noir, Brooks takes smoky after hours jazz into realms only hinted at in movies like “Body Heat”. I don’t know where she’s pulling this from but Brooks is one dame that understands what it is to be a femme fatale. Hitting under used classics and mixing them in with some recent vintage, equally off beat stuff, this is a mickey served by a dangerous broad with something up her sleeveless sleeve. Finding cores in songs like “Round Midnight”, “I’m a Fool to Want You” and “Blues in the Night” that the writers didn’t put there even in their darkest moments, this just ain’t kid stuff. This is one mind blowingly, killer adult jazz vocal date that would make other vocalists call it a day if they could come half as close. Check it out. Chris Spector – Midwest Record Review –