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SO NEAR / Cara Campanelli 

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Cara Campanelli_1

Some little girls sing Britney Spears into their hairbrushes. Some sing Miley Cyrus. Cara Campanelli sang Gershwin. While most of her generation was growing up to the sounds of their parents’ Beatles or Led Zeppelin records, she grew up to the sounds of Frank Sinatra, Nat “King” Cole, Anita O’Day and Peggy Lee—so it was no surprise when in the eighth grade she told a music teacher that Ella Fitzgerald was her idol. By the age of seventeen she’d been named an “Outstanding Vocalist” by Downbeat Magazine, and by twenty-two she was performing on stage with such big names as Roberta Gambarini and Aria Hendricks as part of the 2008 Lionel Hampton International Jazz Festival, in what jazz critic Paul de Barros of the Seattle Times called “a riveting demonstration of what jazz singing—and true mentoring—are all about." Her dainty physique and pale skin ironically belie the voice that issues forth whenever she flexes her formidable pipes: an alto as rich, dark and velvety smooth as the drink she pays homage to with one of her most popular recordings, “Black Coffee” (Sonny Burke and Paul Francis Webster). She is a self-styled anachronism, a reincarnation of an age of speakeasies, fedora hats and femme fatales—an age when movies were in black-and-white, cigarettes were good for you, and jazz was boozy, bluesy and unrefined. Just like jazz oughta be.

- Written by Colin Dweir

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