Diane Marino: Romance In The Dark

Romance in the Dark, from highly-versatile vocalist-pianist-arranger Diane Marino and a team of Nashville's top studio players, offers 10 entertaining selections. Comprised of covers of well-known standards and classic soul material (with a handful-plus being remixed and remastered from the vocalist's previously released recordings), it is a thoroughly enjoyable and, yes, romantic effort.

"Out of This World" opens the session in a lush exotic atmosphere. Originally recorded by Jo Stafford and nearly a jazz standard, Marino dives into the vibe as she molds the dynamics, supported by a thick string backing. Don Aliquo's soprano sax joins for a brief taste. It is a superb track. "Trust in Me" puts Marino in front of Brad Cole's strings and a light rock beat. Marino is highly involved, and her approach to the lyric content is sincere and soulful. A fine Joel Frahm soprano solo is a perfect fit, especially as things come to a close. The title track is a down-home bluesy specimen composed and first recorded by 1940s blues great, Lillian "Lil" Green. Trumpeter Leif Shires states a sassy plungered solo before Marino delivers a gutsy yet sexy take.

Marino, whose oeuvre and stylings show that she is deeply influenced by and student of great Black women vocalists from Nancy Wilson, Dakota Staton, Gloria Lynne and others, is always right at home in that environment. She is azure blue all around and without faux soul. "The Jazz in You," a hit for Lynne in the early '60s, is a hip light swinger with a "Trouble Man"-like under-bed before opening up into a straight four. Marino works her volume in perfect synch with the lyrics, graveling jazz seductively. Roy Agee's trombone and Brad Cole on B-3 solo. The workhorse ballad, "You Don't Know What Love Is," is textbook romantic jazz—sultry Marino and Rusty Jessup's deep tenor. Marino's fine rhythmic and dynamic play is on display. A highlight track.

Marino has an engaging voice and an expansive versatility across tune type and groove. She displays the best of a spectrum of taste and talent over the varied selections. Her playful, yet respectful, approach to the lyrics adds dimension to her performance. Although some of the tracks were originally recorded in the past and are remixed and remastered, her consistency has not wavered. Her Nashville A-listers, to a person, are just that. Marino's arrangements are as tasteful and appropriate as her voice. Cole's and Jeff Steinberg's respective string writing is luxuriously beautiful.

"So in Love," from the Great American Songbook via Cole Porter, is an exotic take. Flutist Mitch Reilly and acoustic guitarist Pat Bergeson offer fine solos and the strings add depth. The old doo-wop classic from The Casinos, "Then You Can Tell Me Goodbye" (actually, a country tune before that) is covered straight-up by Marino. Tenor great Houston Person guests and provides soul. The track epitomizes what can be done both vocally and instrumentally with an iconic selection that is burned into the musical consciousness. On "Speaking of Happiness," Frank Marino's bass plays the stalking-like line of the original lilting rock tune recorded by Lynne. Marino covers deeply blue and scats in unison with synth vibes. It is a soulful side. "I Love You More Than You'll Ever Know," is a cover of the original Blood, Sweat and Tears Child is the Father of Man (Columbia, 1968) take by Al Kooper. Frahm's tenor wails his intro before Marino tells the story and Frahm counters. The track builds in intensity. No horns here, but, a solid blue-eyed soul take.

Romance in the Dark is a romantically lights-out performance from a superior vocal talent and her ace Nashville team.

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