Music Review: Rondi Marsh – ‘The Pink Room’

Singing jazz wasn’t vocalist Rondi Marsh’s start into music, but she found it while performing and investigating her range as a singer. Her fourth studio recording, The Pink Room, shows she is in full command of the reins as a jazz singer. Whether she is dipping in the pools of torchlight ambiences or festive romps, she shows an acute understanding of her craft. Displaying a finesse that only a seasoned artist could manage, she has found her niche. Comprised of 10 American Songbook standards and one original track, Marsh’s release is a burst of refreshing interpretations on modern jazz.

Her voice moves with limber ease, demonstrating a delivery that is entrancing. A savvy vocalist, her composure conveys a Moulin Rouge-style ambience. She maneuvers through the stylistic changes of “The Bass Song” with aplomb. A compilation of George and Ira Gershwin’s “Slap That Bass” and Meaghan Trainor’s “All about That Bass,” the track is a contemporary entanglement of classic showtunes pizzazz with a profusion of dance pop grooves. Her vocals boast a casual looseness and a deep attachment to the lyrics.

The brushed strokes of Don Kinney’s drumming and Ryan Donnelly’s bass pulls have a firm hold on serenades like “Summer Wind” and “Slow Hot Wind.” Gracefully, the silky talons of Neil Andersson’s acoustic guitar graze a gypsy folk-edging in “Angel Eyes.” The gypsy-inspired trend recurs throughout the recording, arising in numbers like “Mambo Italiano” and “Boy on a Dolphin.” Perceptively, it’s the malleable grip of Marsh’s vocals that broadens the melody’s infectious allure.

Calling Washington State her home, Rondi Marsh shows a talent for singing jazz tunes. A graduate of Central Washington University, she incorporates music, dance, and education into her lifestyle. The three factors have a vital impact on her artistry, helping her to grow as a recording artist and a live performer.