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"That's why I used a small band rather than a large ensemble for this album, that way there would more focus on the vocals." In addition to the leader, Voice Like a Horn employs the core members of the Pete McGuinness quartet: pianist Ted Kooshian, bassist Andy Eulau, and drummer Scott Neumann. "I've always loved to scat sing - I have perfect pitch, which helps me sing more the complicated stuff - and I get more serious about it each year," he says. To be sure, the music is jazz by emphasizing vocals McGuinness isn't positioning himself for cabaret acceptance or pop visibility.
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While his trombone playing and imaginative arranging is well on display, McGuinness makes full use of Voice Like a Horn, to present himself as a "horn-minded, jazz oriented singer." Drawing on beloved standards ("Yesterdays," "Never Let Me Go," "Tea For Two" and "I've Grown Accustomed To Her Face") less familiar fare ("Oh, You Crazy Moon," "Who Cares") and jazz originals including Dizzy Gillespie's "Birks Works" and Bill Mobley's "49th Street," McGuinness places his affecting singing and agile scatting front and center on every track. Billy Taylor and Barry Harris) a 2008 Grammy nomination for his arrangement - complete with the leader's vocal - of "Smile" (on the McGuinness orchestra's First Flight) his inclusion as a semi-finalist at the Thelonious Monk Jazz Vocal Competition and his featured appearances as a singer with the Jimmy Heath big band, the Smoke Big Band, and the Manhattan Vocal Project. The seriousness with which McGuinness approaches vocalizing can be determined in official recognition, including a first prize win at the 2010 Jazzmobile Vocal Competition (judged by the late Dr. As both a sensitive interpreter of lyrics and as a daring improvising scat singer, McGuinness proves himself a force to be reckoned with.Īlthough he may be best known in jazz circles for his exceptional playing, arranging and composing with the Pete McGuinness Jazz Orchestra, as well as his appearances on over 40 recordings, McGuinness has always maintained a keen interest in jazz singing. And now, with Voice Like a Horn, (July 9, Summit Records) McGuinness turns the spotlight on his compelling and extraordinarily dexterous singing. As an acclaimed trombone player he is known for his skillful, elegant, and communicative improvisations. A jazz singer who can transform vocalizing into a form of virtuosic improvisation, reminding the listener that the voice is as flexible an instrument as any other, is equally worthy of praise. There may be no greater accolade that a jazz musician may receive than the claim that he or she successfully emulates the human voice on their instrument, thus achieving a direct line of communication with a listener. As both a trombonist and a singer, Pete McGuinness is in an enviable position.
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