Meet Margie Notte:
Margie Notte is one of the finest vocalists to appear on the New Jersey scene and is from Orange, New Jersey. Margie recorded her debut CD, Just You, Just Me, and Friends: Live at Cecil's
in April, 2008 at Cecil's Jazz Club in West Orange, New Jersey.
Don Braden, acclaimed jazz musician, composer, recording artist, and esteemed educator, produced the recording. Just You, Just Me demonstrates Notte's ability to interpret classic songs in a powerful and reflective way. She personifies an artist who has lived life to the fullest, and through her experiences and interpretive talents, connects to audiences on a very personal level. Her soulful approach has earned her distinction as a first-rate performance artist.
Margie's early passion for music started at age 12 with piano and voice training and at 17, she was with the rock and roll band, Ecstasy. Margie studied voice technique with mezzo-soprano, Carla Wood, who performed frequently with the New York City Metropolitan Opera Company. That relationship yielded the rich, vibrant sound that characterizes Notte today. She continues her training in theory and jazz with renowned vocalist Roseanna Vitro, and voice technique refinement with Barbara Maier.
Teachers and/or influences? Teachers include Patricia Domino, Carl Botti, Carla Wood, Roseanna Vitro, Barbara Meier.
Influences include Don Braden, Roseanna Vitro, Cecil Brooks III, Dinah Washington, Lena Horne, Sarah Vaughan, Ella Fitzgerald, Mel Torme, Louie Armstrong, Sam Cooke, Edith Piaf, Elvis Presley, David Bowie, Elton John, John Lennon, and too many more to mention.
I knew I wanted to be a musician when... I was about five or six years old, when I watched My Fair Lady, the movie, on TV and then I just kept singing. My home, growing up, was always filled with music.
Your sound and approach to music: I like to sing songs that, in some way, I connect to a certain emotion or a time in my life, etc. I think my sound reflects what I feel inside as I sing and hear the music.
Your dream band:
I would love to have an all-star semi-big band that would back me on vocal arrangements and at the same time I would allow room for instrumental improvisation.
I love the drums and rhythm section to be somewhat aggressive, to push the music harder with a lot of dynamics, so I would have a tandem drum situation with both Roy Haynes and Cecil Brooks III, Christian McBride on bass, Herbie Hancock on piano, Stevie Wonder on keyboards and vocal harmonies, I would continue with Don Braden on sax, Steve Turre on trombone, Wynton Marsalis on trumpet, and guitarists George Benson and Eric Clapton.
Cecil's Jazz Club, West Orange, NJ. It has excellent acoustics and sound equipment, a very fun and warm atmosphere, with a love and deep feeling for the music.
Your favorite recording in your discography and why? Well, since I have only one record out there, I guess my debut recording Just You, Just Me, & Friends: Live at Cecil's would have to be my favorite.
The first Jazz album I bought was: a cassette of Billie Holiday which got lost through the years. I forgot the title as I was only 11 when I bought it. I paid a dollar for it at Korvette's in West Orange, NJ which is now K-Mart.
What do you think is the most important thing you are contributing musically? Having teachers and mentors like the great Roseanna Vitro, Don Braden, and Cecil Brooks III, etc., teaching and giving me guidance, I'd like to think that I am helping to pass on the integrity and reverence to this music and art form.
Did you know...
that I am also a great cook?
CDs you are listening to now:
Roseanna Vitro, Delirium Blues Project (Half Note Records);
Don Braden, Gentle Storm (High Note Records);
Sam Cooke, The Rhythm and The Blues (RCA Records);
Ella Fitzgerald, The Chronological Ella Fitzgerald 1939 (Classics Records);
Billie Holiday, Wishing On The Moon (Living Era Original Mono Recordings 1935-1946).
How would you describe the state of jazz today? I feel because of what is available in education now, musicians today are far more trained in technique and theory. Combining that with intuition and originality is what makes the truly remarkable artist stand out, but there are so many that don't get the true recognition they deserve.
What are some of the essential requirements to keep jazz alive and growing? Education in schools, community events that sponsor jazz, and people, must support all clubs and venues, and radio stations that promote jazz. It's wonderful that so many great musicians and vocalists are also teaching in schools and running jazz camps; supporting and encouraging our young to learn and be a part of this cultural experience.
What is in the near future? A new CD is on the drawing board with a projected street date of early January of 2010 or earlier.
If I weren't a jazz musician, I would be a: hound dog, cryin' all the time.