Latest Raves for "The Mood I'm In"
"Listening to this work, one can not but admire the perfect pitch of Verplanck, youth exhibition sharpness, the elegant interpretive taste, warm and sophisticated conversational pace. A jazz nature that is expressed in shades of timbre, in the rhythmic security, in the airy improvisation momentum." -- Allaboutjazz.com
"Another artist not to miss at Birdland is the sublime jazz singer Marlene VerPlanck. Judging from her new album, “The Mood I’m In,” the lady has discovered the Fountain of Youth. Though her first album was released in 1955, her singing could pass for that of a woman in her 20s. Her tone is firm and she still hits some awesome high notes." -- Barry Bassis, Epoch Times
Read entire review here. (Scroll down to find it.)
"Marlene swings the high notes here, ... one of the finest small ensembles you've ever recorded with" -- Marc Myers, Wall St Journal and Jazz Wax
"A wildly winning set throughout,this is a master class on jazz vocal that you better show up on time for" -- Chris Spector
Read entire review here.
"The voice as bell-like clear and her brisk, no-nonsense but jazzy approach characterized as refreshing and ever-youthful. But facts are facts and the long-revealed truth, like her sound, remains as clear as that inevitably conjured-up bell." -- Rob Lester, Talkin' Broadway
It's real jazz by a true master, and in addition - a magnificent and unique example of an active creative longevity. Bravo, Marlene! -- Leonid Auskern (from Russia)
Read entire review here.
The many charms of vocalist Marlene Ver Planck are evident as she sings the title track of her latest Audiophile release The Mood I'm In. This bright and brisk vocal displays the warmth she brings backed by a terrific trio of John Pearce, piano, Paul Morgan, Bass, and Bobby Worth, drums, with Mark Nightingale adding trombone behind her marvelous and joyful delivery on this performance. This recording is her 24th for the Audiophile label, and indication of her longevity as a performer and a singer of song. This trio, trombonist Nightingale and saxophonist/flautist Any Panayi recorded this during one of her annual tours of England.
This is a marvelous collection of songs, and while they come from legendary composers and songwriters as Harry Warren, Duke Ellington, Billy Eckstine, Benny Carter, Sammy Cahn, Jimmy Van Heusen, and Henry Mancini, these are songs that are not overly well done. These lyrical gems include her reflective delivery of the Kohler-Warren "Me and the Blues" with a deliciously gruff trombone solo on a number Mildred Bailey recorded in 1946, as well the bouncy rendition of the Troup and Mancini penned "Free and Easy," that opens with just her and bassist Morgan before the full trio and a touch of flute. A particular favorite is the lovely ballad,"It Shouldn't Happen To a Dream," from Duke Ellington, Don George and Johnny Hodges. This is another of the performances in which Nightingale's trombone adds so much to the performance. He also does on her wistful rendition of "All Too Soon," another gem from the Ellington songbook with lyrics by Carl Sigman. Billy Eckstine's "I Want To Talk About You" is another marvelous love song with lovely flute by Panayi who switches to tenor for the buoyant treatment of Cahn-VanHeusen's "Come on Strong" where she briefly scats with some highly energetic sax.
There are other delights that Marlene Ver Planck brings us in The Mood I'm In, with wonderful vocals, terrific backing, and a selection of choice, lesser-known songs. -- Ron Weinstock, jazz-blues.com
From Downbeat, March 2016 - 5 Stars!
Marlene VerPlanck has been exploring the Great American Songbook since her days singing in the bands of Charlie Spivak, Tex Beneke and Tommy Dorsey. She’s contributed backing vocals to a legion of artists, including Sinatra and KISS, and has sung on demos for the writers in the Brill Building. But it’s her work as a solo artist that has brought her lasting fame. On this, her 24th album, the singer continues to showcase her impeccable phrasing, sinuous melodic sense and flawless diction. She’s a quiet vocalist, but she conveys an encyclopedia of emotion with every word. “Come On Strong,” a Sammy Cahn/Jimmy Van Heusen obscurity, is a case in point. It’s a celebration of carnal love, and when she whispers the titular lyrics you can feel the growl behind her purr. Bobby Worth’s drums and Andy Panayi’s saxophone add to the subtle sizzle. VerPlanck’s voice is like a summer breeze, warmly caressing the simple, poetic lyric, especially when delivering the pensive vocal that enhances Duke Ellington’s “It Shouldn’t Happen To A Dream.” Mark Nightingale’s muted trombone complements her vocal with a smoky, restless solo. VerPlanck’s playful phrasing is evident on the title track. She plays with the rhythm, singing before and behind the beat, taking the song home with a cluster of frisky extended notes. She still has most of her range, lending these timeless standards a heartwarming grace.
From In Tune Magazine
Thirteen songs never had it so good. Marlene is on the top of her game. From this welcome 13-song CD here are a few exceptional examples: “The Mood I’m In” (Webster/King) dazzles. The other version of this song you just might recall was by Jack Jones on Kapp records. Marlene here however offers her distaff improved updated take. It’s a swing masterpiece and her CD title. Mark Nightingale has a wild upbeat trombone solo that one will never forget. Together Mark and Marlene both go at it to the limit.
If it’s romance you are seeking, well, Ms. Ver Planck’s version of “It Shouldn’t Happen to A Dream” (Ellington/Hodges/George) certainly should fill the bill. Marlene really sings from her heart and her very soul obviously you can certainly be affected by it. “Certain People” (Whyte/Bunch) on the other hand is another fine example of an unheralded different kind of-upbeat-love song. Paul Morgan her bass player, pianist John Pierce and drummer Bobby Worth are all afforded justified solo spotlights. The four of them together settle in musically very well. “I Want To Talk About You” (Eckstine) is yet another pure heartwarming classy version of a most familiar song. “This Is Always” (Gordon/Warren) receives a most emotional grand version by Marlene. She takes full control and easily reaches everyone in earshot. “Too Late Now” (Lerner/Lane) as expected concludes a thoroughly perfect amazing vocal CD. --Singers Singers/In Tune Magazine, UK
From Bruce Crowther, Jazz Mostly
The past twenty-plus years has seen Marlene VerPlanck regularly visiting the UK, sometimes with side trips to Continental Europe. Only occasionally has she recorded while on these trips and that makes this new release even more of a delight. The regularity of these visits means that Marlene has built up good musical relationships with several key instrumentalists and during her 26th UK tour she went into the studio with the trio of pianist John Pearce, bassist Paul Morgan and drummer Bobby Worth.Also making a most welcome contribution to five tracks is Mark Nightingale on trombone, and on four tracks Andy Panayi on tenor saxophone and flute. Marlene is fully supported by these fine instrumentalists, many of whom have solo moments that are taken with skill and ingenuity. As always, Marlene’s selection of songs is impeccable, drawing as she does not only from familiar materials but also from distant corners of the Great American Songbook as well as work by superior jazz artists. Among the chosen composers are Harry Warren and Ted Koehler, Me And The Blues, Warren and Mack Gordon,This Is Always, Burton Lane and Alan Jay Lerner, Too Late Now, Henry Mancini and Bobby Troup, Free And Easy, Benny Carter and Paul Vandervoort, My Kind Of Trouble Is You, and Duke Ellington, Johnny Hodges and Don George, It Shouldn’t Happen To A Dream. In all cases, Marlene’s innate skill and feeling for the heart of a song allow her to bring warmth and understanding to the often magical worlds created by the lyricists. The set also includes a two-song medley enjoyed by audiences on her tour with which she pays tribute to Frank Sinatra: It Started All Over Again, Carl Fischer and Bill Carey, and The Second Time Around, Jimmy VanHeusen and Sammy Cahn. If you, like me have long been an admirer of Marlene VerPlanck, you will be delighted to know that her vocal sound remains virtually unchanged and as always she has delivered glowing performances of some wonderful songs.
From Mark Myers, Wall St. Journal and Jazzwax:
While touring in England last March, Marlene squeezed in a recording session with John Pearce (p), Paul Morgan (b), Bobby Worth (d), Mark Nightingale (tb) and Andy Panayi (sax/fl). As is her custom, Marlene took on hip standards that would have made the late Jackie Cain smile. The title track as well as Free and Easy, Certain People and Come on Strong all tell mischievous stories. Marlene swings the high notes here, while a stunningly tasteful quintet frames her perfectly. If you're yearning for spring, this album will catapult you to May in one listen. Great album. Pearce is a killer accompanist and the album is perfectly mixed. Terrific quintet.-- Marc Myers, Wall St Journal and Jazz Wax
From Vittorio Lo Conte, Music Zoom:
The singer Marlene Verplanck (the birth surname is Italian, however: Pampinella) came to the twenty-fourth album for the Audiophile Records, a career simply straordiaria dedicated to standards, even those not particularly popular, and the mainstream. After the tour of 2015 in England went into the studio with the trio that accompanied it, made up of John Pearce on piano, Paul Morgan alcontrabbasso and Bobby Worth on drums, as well as Mark Nightingale trombone and Andy Panayi on alto sax and flute (Free and Easy on and I Want to Talk About You) that go with specific responses from one track to another.
She confirmed, she is a very valuable singer who acts as a consummate storyteller, able to give meaning to the verses singing. There is something emotional when the music envelops all, thanks to the total empathy with British musicians who l'accompagnano. There is nothing artificial, constructed of, all seems straight out of a band that we know by heart and that has a class executive extraordinary, talented trombonist with the very vocal sound of his instrument, as well as Andy Panayi.
The compositions are quite known authors, Billy Eckstine I Want to Talk About You, Duke Ellington All Too Soon and It Shouldn't Happen to a Dream, but here there are the most famous songs of the great American tradition. Never mind, they proceed smoothly making these forgotten songs full of life, witness of a class executive of the highest level.
Among the most interesting tracks All Too Soon with the intervention of the trombone that joins her voice, in short, great mainstream and great performers who know the swing as well as Ellington warned us already announced in one of his most famous songs ("does not mean anything if no swing "). Pianist John Pearce and rhythm are the masters in this, as well as sidemen American Marlene other discs.
It Started All Over Again / The Second Time Around, without the intervention of the wind instruments, is a fine example of how empathy quartet is perfect. Sometimes there are actions rather modern, as Andy Panayi sax on This Is Always, a song of 1946 by Mack Gordon and Harry Warren. On the album there is enough variety in the performances, from ballads to rhythm song more lively and excellent quality of the recording does the rest. For those who appreciate the genre a disk recommended. -- Vittorio Lo Conte, Music Zoom (Italy)
"She confirmed, she is a very valuable singer who acts as a consummate storyteller...there is thanks to the total empathy with British musicians." -- Vittorio Lo Conte (Italy)
Read entire review here.
"Marlene VerPlanck remains at the top of her field"... -- papatamus, January, Cadence Magazine
"Marlene VerPlanck keeps acquiring superlatives in reviews of her albums and performances, and The Mood I'm In, shows exactly why!" -- Joe Lang, NJJS
"...elegant compilation of standards, familiar an neglected" -- Alix Cohen, Cabaret Scenes
"Congrats! THE MOOD I'M IN is top notch" --
Elliott Eames WVOX AM 1460 & worldwide WVOX.COM
Latest Performance Raves
YOU'RE REALLY SOMEONE TO WRITE HOME ABOUT
By Keith Prior
Atop the appropriately named Steep Hill in Lincoln, close by the city's magnificent cathedral, is Stokes Collection Cafe, where the great American singer Marlene VerPlanck recently entertained her audience with an evening of popular song.
With the excellent John Pearce Trio backing her, VerPlanck covered some of my favorites, including Oh, You Crazy Moon and Sleigh Ride in July, by Johnny Burke and Jimmy Van Heusen; and Alan Jay Lerner and Burton Lane's Too Late Now, which she recorded a cappella in 1989, on her CD A Quiet Storm.
At times the singer's choices reminded me of one of those Glenn Miller Army-Air Force medleys, the kind that featured things old, new, borrowed and blue.
Old: You Can Depend on Me, written by Charles Carpenter, Louis Dunlap and Earl 'Fatha' Hines, way back in 1932.
New: I Give Up, I'm in Love, penned by Morgan Ames and Johnny Mandel, and recorded (before anyone else) by VerPlanck, just last year.
Borrowed: How Little We Know, by Carolyn Leigh and Philip Springer, who adopted, perhaps unwittingly, the title of a mid-forties tune by Johnny Mercer and Hoagy Carmichael, which the singer recorded in 1999.
Blue: Blues in My Heart, by Irving Mills and Benny Carter.
By almost any measure, VerPlanck is a virtuoso performer. How so?
For starters, she has stamina! The singer began her latest UK tour in early March and had already graced a dozen or more venues, including Ronnie Scott's in London, before Stokes; yet she was as fresh and swinging there as at any time I've seen her over the past 30 years.
Then there is her phrasing, which is extraordinary, even when the tempo is racing. To get a sense of this consummate talent, listen to the New Jersey-born singer's take on Bob Dorough's I've Got Just About Everything, from A Quiet Storm.
She's relaxed and warm-hearted on stage, exuding the kind of presence, charm and rapport that other performers can only dream of.
One quality you might not necessarily associate with singers is integrity. Throughout her career, VerPlanck, who released her first album in 1955, has shown a penchant for lesser known numbers, rarely if ever recording anything that might be considered purely commercial, even though it might've meant a larger fan base. She brings to mind the illustrious Mildred Bailey, an entertainer renowned for her unwillingness to compromise on the material she sang. (Asked whether she was a jazz singer, Bailey famously replied: 'Hell, honey, I just sing!')
Lastly, and most important, there is the Marlene VerPlanck voice, which quite simply is peerless. To paraphrase the title of a song written by Roger Schore and Lew Spence and recorded by the singer on her most recent CD, She Really Is Someone To Write Home About.
"Leon Nock sees US singer Marlene VerPlanck at Ronnie Scott's, on her 26th UK tour and enjoys two hours of the most potent magic since Merlin gave up his day job."--Leon Nock, Jazz Journal Int'l, April 2015
"VerPlanck has a remarkable clarity of tone and diction to her singing, putting love and passion - as well as great understanding - into he lyrics." -- Mark Smith's blog, Swansea
From John Toogood, Radio Lincolnshire, March 21, 2015
The delightful, charming and wonderfully talented Marlene Verplanck made her Annual visit to the United Kingdom this month, and stopped off during her busy 18 date tour schedule to play at The Collection Cafe/Bar in Danes Terrace, last Friday to perform for Lincoln's Jazzpac, and what a triumph the evening was for all of us. Like opening a tin of your favourite chocolates on Christmas morning, this very experienced singer had us all wanting her to open our much loved 'Quality' confectionary song and perform it in her own unique, effortless way.
Her voice, timing, choice of songs, and delivery were immaculate, as one would expect from someone who has spent a lifetime working in the music industry with the likes of Tommy Dorsey, Mel Torme, Perry Como, and as one of the backing singers on Sinatra's 1980 recording Trilogy with arrangements by Don Costa, Billy May, and Gordon Jenkins. Her oeuvre has centred on Big Band Jazz, and she made her debut solo album in 1955 to critical acclaim. Her choice of numbers to reflect her career was pure quality, as she included many rare gems from The Great American Songbook, along with show numbers from the pens of Lerner & Lowe and Stephen Sondheim.
At times it was like opening a front door and listening to a number that you have heard performed many times before, but in a completely new way, where every syllable comes across as clear as a mountain stream. Marlene is laid back, cool, sophisticated with tone, diction and phasing rarely heard these days.
Her equally experienced backing trio on this tour consists of the great pianist/accompanist John Pearce, Bobby Worth (Drums) and Paul Morgan (Double Bass) all of whom added to a great evening of Supper Club Cafe Jazz to cherish.
Marlene was described recently by The New York Times as "may be the most accomplished interpreter of popular material today...." and I would endorse that wholeheartedly. -- John Toogood, Radio Lincolnshire, March 21, 2015
More Raves for "I Give Up, I'm in Love"
From Scott Yanow, Los Angeles Jazz Scene
"Very early in her career, back in the late-1950s, Marlene VerPlanck learned the importance of being able to sight-read anything, always singing completely in-tune, and doing justice to whatever lyrics she was called upon to interpret. She spent 30 years as a greatly in-demand studio and session singer, doing voice-overs for more than her share of famous commercials. However she never stopped singing her brand of melodic and swinging jazz, recording a long string of delightful recordings that has continued
up to the present time.
"Marlene VerPlanck’s latest recording, I Give Up, I’m In Love, features her sounding ageless on eight superior obscurities and four standards. She is joined by two different rhythm sections (with either Mike Renzi or Todd Firth on piano), with four guest appearances apiece by cornetist Warren Vache and tenor-saxophonist Harry Allen. Three songs (including two of Vache’s features) have the singer joined by the Glenn Franke Big Band.
"In every setting, Marlene VerPlanck shows that she has not lost a thing through the years. She excels at both the standards (such as “The Way You Look Tonight” and “I Didn’t Know What Time It Was”) and the lesser-known tunes which includes two Stephen Sondheim songs plus “I Love The Way You Dance,” “So Long My Love,” “Sleigh Ride In July” and the debut of the Morgan Ames/Johnny Mandel title cut. While she mostly sticks to the words and the melody, she also scats a little, swings a lot and consistently displays the ability to place notes perfectly. Although one can imagine each of the composers and lyricists of these songs loving these performances, those who enjoy jazz-inspired singers will also find much to savor.
'I Give Up, I’m In Love, which is easily recommended, is available from wwwjazzology.com." -- Scott Yanow
From John Hoglund, for Cabaret Scenes, April 10, 2015
"The difference between a technically savvy jazz singer blithely phoning in her stuff and a natural, serious jazz/swing artist who takes the whole package to another level, is exemplified by Marlene VerPlanck. What is, perhaps, most special about her is her lack of exhibitionistic bravado. That alone is refreshing.... She approaches a song with gusto and defiantly swings into the mood with a grace and a style that is too rare in today’s crazed music world. As always, she remains at home with the classics and, thankfully, shows no sign of slowing down. Without sounding too formal, she respects the songs’ melodic details and renders lyrics almost with the enunciation of a polished recitalist—fronting a big band." -- John Thurgood
Read entire review.
From Don Albert, artlink.co.za, February 20, 2015
Setting the vocal pace for 2015
"Too often the jazz scribes only look at the latest and newest female vocalist on the scene and they ignore many of the excellent jazz singers still around, especially in New York. One of my favourites Marlene VerPlanck comes to mind. She has a splendid voice and range, every note is in tune and her enunciation is perfect. One of her strong points is her respect of the lyrics. I’ve just received her latest album named I Give Up, I’m In Love (on Audiophile ACD-347) which is filled with wonderful songs, some might not be familiar but you’ll soon warm to them." -- Don Albert
Read entire review.
From Dee Dee McNeil, Ambassador Magazine, Spring 2015
Persons of Interest
M'mm M'mm Good
Marlene (Pampinella) VerPlanck grew up in Newark, NJ., where her family owned one of the Garden State's most successful Italian restaurants - Biase's Restaurant. She learned to cook Italian dishes from her mom, Pauline, who was a master chef. But while cooking was a joyful hobby, it wasn't VerPlanck's passion. Music is what touches her heart.
VerPlanck started singing at 19 and was appearing at local venues when famed Savoy producer Ozzie Cadena heard her. He quickly booked a recording session that included trumpeter Joe Wilder, flutist Herbie Mann, pianist Hank Jones, and bassist Wendell Marshall, among others, to make the 1955 album "With Every Breath I take."
But most of us may be familiar with her voice from hearing it on the Ã‡ampbell's Soup commercial singing "Mmm Mmm Good." She also sang the sexy "Yeah" in the Michelob beer ads, and "Nationwide is on your side" in the original Nationwide jingle. As a studio singer, she has sung back up for all the greats-from Tommy Dorsey and Frank Sinatra to Kiss.
VerPlanck is third generation Italian American-her mom's side from San Fele in the Region of Basilicata, and dad's from Palermo.
Her 23rd release, "I Give Up, I'm In Love" hit the stores in November and has received world wide notices for a world class vocalist!
From Marc Myers, Jazzwax.com, December 15, 2014
"Marlene has a voice like a great piece of candy. It tastes great from time it hits your ear and continues to enthrall and enchant as the sweetness rolls around inside. Marlene knows her way around a studio mic and how to sell a song with charm and hipness."
"This album is a blast from start to finish, and Marlene's voice has never been more joyfully and warm. Framed by superb musicians, the result is a rare, beautiful treat." --Marc Myers, Jazzwax.com
Read entire review.
From Mark S. Tucker, accousticmusic.com, December 3, 2014
"Good grief, a year has passed and her latest, I Give Up, I'm in Love, is a good deal spunkier than last year's Ballads…Mostly (here). Let's see if Robert Plant can do this same sort of gig when hits that age (hell, he can't even do it now!). I think Marlene discovered that age-reversing grail William Saroyan sought in vain, either that or, as I noted in 2013, she tracked down Ponce de Leon, flirted him to distraction, took a few mouthfuls as he blushed and stammered, then took to her heels so that he never knew what happened, she dashing away giggling. Proof of that is rendered by none other than Johnny Mandel (who newly wrote the title tune with Morgan Ames, the two giving Marlene the first shot at it here), who, upon hearing this CD, said "Marlene is truly an incredible singer". Who better than he would know?" -- Mark S. Tucker, accousticmusic.com
Read entire review.
"Marlene VerPlanck is the real deal - she knows both how to sing, how to communicate, how to move us, and how to pull our the loudest applause around.
Highly Recommended." -- Grady Harp, Hall of Fame Top 100 Reviewer Vine Voice, December 2, 2014
From Pierre Giroux, Audiophile Audition, December 1, 2014
Here are a few excerpts:
"Marlene VerPlanck is one of those singers who defies characterization although the words under-appreciated or over-looked often come to mind and they do not really do her justice.... However during the past two decades years, Marlene has been reasonably prodigious in releasing albums on a regular basis, and this latest effort I Give Up, I’m In Love is a real jewel and certainly deserves a broad acclamation.
"In this current release, which is composed of a number of well-known standards from the Great American Songbook, and a few lesser-recognized pieces, Marlene gets terrific support from the big band of Glenn Franke and two separate trios, one lead by pianist Mike Renzi, and the other by pianist Tedd Firth with the added accompaniment on several tracks from tenor saxophonist Harry Allen and cornetist Warren Vache.
"In the liner notes, author of Why Jazz Happened ,Marc Myers states the following: “Marlene strives for tonal perfection but never skimps on key ingredients: love and passion.” All this and more is evident in this release." -- Pierre Giroux, Audiophile Audition
Read entire review.
From Marcia Hillman, New York City Jazz Record
"Marlene VerPlanck adds to her reputation as a first-rate vocalist with this latest CD, once again choosing her material wisely with a selection of favorites, little-done songs and the first recording of a new tune by Johnny Mandel and Morgan Ames (the title song).
"She features accompaniment ranging from the Glenn Franke Big Band to two different trios, comprised of pianist Mike Renzi, bassist David Finck and drummer Ron Vincent or pianist Tedd Firth, bassist Jay Leonhart and Vincent, plus guest appearances by cornet player Warren Vache and tenor saxophonist Harry Allen.
"Starting off with the title track, VerPlanck demonstrates her ability to belt out a song with a big band accompaniment—a talent she displayed early in her career with the Charlie Spivak and Tommy Dorsey bands—while tunes done with a trio show her able to carry off a more intimate approach.
"VerPlanck has always communicated successfully with clear vocal tones, remarkable range, diction and devotion to the lyrics and their interpretation, qualities that have not diminished one bit over the years.
"There are many delightful moments to be found on this album, but notable is VerPlanck's lovely and sensitive rendition of Peggy Lee-Victor Young's Where Can I Go Without You?, Vache adding his special touch with cornet fills and a solo and also heard delivering a swinging solo with the big band on the title track.
"Allen enhances VerPlanck's vocals on several tracks, especially smooth and sensitive on How Little We Know. Vincent shines with his tapdancing brushwork on I Love The Way You Dance and Sleighride In July, while pianists Renzi and Firth (the latter with whom VerPlanck has worked many times) show off their talents for vocal accompaniment (a very special art) in their respective appearances." -- Marcia Hillman, New York City Jazz Record
"Marlene VerPlanck is truly an incredible singer. And not only that, she has just given us an incredible album, "I Give Up, I'm In Love". When it comes to her choice of songs and the way she sings them, there's nobody better." -- Johnny Mandel
"I love your voice, taste and choice of songs! You have probably rescued more great songs than anyone else I can think of. Know that I adore you personally and professionally."
With love -
"Never dated and always an inspiration, Marlene Ver Planck is a clarion call for taste, savvy and pristine vocal purity in a disintegrating morass of declining musical values. Polished and beautiful to listen to, she is always full of surprises and lives up to her high standards with finger-snapping panache. She is something of a marvel." --Rex Reed
“I Give Up, I’m In Love” is a solid piece of work, with an eclectic choice of standards and would-be standards..." -- Doug Boynton, Girlsingers.org
"A world class vocalist, with world class musicians." -- Frank Wilner, Voices in Jazz
" VerPlanck does a fabulous job of selecting superb songs that are either new, undeservedly neglected or standards that are not overdone. She is in fine voice." -- Joe Lang, New Jersey Jazz Magazine
Photographs and Memories
Here's a slideshow with some photos of Marlene and her fans and friends. Click on the link to see the first slide and then click the play arrow at the top of the photo to start the show. You can use the VCR controls at the top of each image to run or pause the show. View photos here.
Other Links For the Music Enthusiast...