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Eric Dolphy: “When you hear music, after it’s over, it’s gone, in the air, you can never capture it again.”
 
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 Thursday, 08 January 2009
Charmin Michelle: Charming Audiences From Minneapolis to Barcelona Print E-mail
Written by Andrea Canter, Contributing Editor   
Sunday, 23 September 2007

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Charmin Michelle©Andrea Canter
Whether in tribute to Ella or Billie, in duo or fronting a big band, Minneapolis vocalist Charmin Michelle sings with “taste and understatement, swing and savoir faire, grace and grooves, intimacy and panache” (TC Music Net). And she is also among the busiest—and most versatile-- singers in town. After more than a decade charming local audiences as well as occasional forays across the Atlantic, these days Charmin is making that trans-Atlantic flight as a regular gig, her bookings in Spain coming whenever she can fit travel around her local dates with Joel Shapira (as Charmin & Shapira), Denny Malmberg at Kozy’s and Fireside Pizza, Jerry O’Hagan’s Orchestra at the Cinema Ballroom, Doug Haining’s Twin Cities Seven, and more.

Born in Birmingham, Alabama, Charmin Michelle moved to Minneapolis as a young child. With the promotion of organ legend “Captain” Jack McDuff, she toured Europe with internationally known pianists Mulgrew Miller and Kirk Lightsey in 1997, and since 1998, has performed in jazz festivals in Spain, Portugal and France (with the Tuxedo Big Band) as well as throughout the Twin Cities area. On her first three recordings—Your Eyes (1994,out of print), Destination Moon (1998, CM), and Hot (2001, CM), she covered tunes of Billie Holiday, the Great American Songbook, blues and bossa, what Tom Surowicz described as an “aural charm bracelet.” In 2005, she and Joel Shapira released Pure Imagination (CharmSongs), a combination of voice/guitar duets and quintet arrangements of jazz classics.

From Minnesota to Spain and Beyond

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Charmin with Toni Sola and Gerard Nieto courtesy of Charmin Michelle
Charmin has always been busy with multiple projects, including blues dates with the jump band, the Senders, and jazz tours throughout Spain, but in the past year, the scope of audience as well as her collaborations has expanded globally. The late great B-3 master Jack McDuff was responsible for her entrée into the jazz scene in Spain. “When I first started, I did brunch at the Times and Jack McDuff came in every Sunday,” recalls Charmin. “I knew he went to Europe all the time, and I told him that I wanted to go with CDs in hand and book some gigs. He said ‘No’—that wasn’t the way to do it-- and hooked me up with his agent, who said ‘Give me 3 CDs and I will send out to agents.’ And one booked me and told me to bring my own piano player. So I brought Rick Carlson and took Doug [her future husband]; we went to Spain and had a great time [in 1998]…Then I started going on a regular basis with the Tuxedo Big Band [from Toulouse, France], doing a tribute to Ella. But then after 911, everything dropped off.”

But recently the Spanish connection re-ignited as Charmin began performing a tribute to Billie Holiday with two Spanish piano trios, the Ignasi Terrazza Trio and Gerard Nieto Trio, with saxophonist Toni Sola on both trios. “I’ve had the same promoter all these years, based in Barcelona,” says Charmin. “Between these two groups, we do festivals, some club dates and concert halls.” And it has been a bit of a whirlwind, squeezing in a lot of gigs as well as recording dates whenever she’s in the country. “Since March, we’ve been doing all the Billie Holiday music and some recording, with guests such as Harry Allen, Grant Stewart, Scott Hamilton… and possibly Peter Bernstein on guitar for one session, and Jessie Davis, all of whom the agent books on a regular basis. We’ll be finishing up in October…Sometimes I get off the plane, have lunch and then we’re into the studio. After a long flight, the studio work can be intense—you are giving it your best shot!”

The gigs in Spain led to a “working vacation” in the Canary Islands last June. “There were two festivals at the end of June, one festival on Grand Canary and one on Tenerife. I met the guys [her Spanish trios] there, they were great venues, outdoors. People stayed til the end, and we ended up going overtime--the band before us ran a little long, but fun was had by all.”

Connecting With the Audience, in Europe and Minnesota

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Charmin with the Gerard Nieto Trio at the Canary Islands Jazz Festival courtesy of Charmin Michelle
The enthusiasm of audiences in the Canary Islands and throughout Spain has greatly contributed to the “fun” of her frequent travels. “Over there, the people who come to our shows come to hear us. They know a lot about jazz and about the musicians they are hearing. Here [in the U.S.] it depends on the venue how much attention they pay to the music. There, I feel very welcome. One club we played was so much fun, the people were just into it. I didn’t want to stop. Usually we do an hour and a half set and we’re done, or two 45-minute sets. It goes so fast because the people are there for you. I practiced a little Spanish so I can say some things to the people and I get them laughing. I’m not sure if they are laughing at me or at what I said! But once you get them that way, they are with you, and it’s a great feeling.”

Does Charmin foresee such audience response developing here in Minnesota? “They have to be able to hear you!” she says. “At Fireside Pizza [her Monday/Wednesday night gig in Richfield], I will talk to the audience and get them to talk to me, and next thing you know, they put money in tip jar and come back the next week! That’s why I like Fireside, it’s like hosting a party.”

Fireside has evolved as one of Charmin’s favorite venues. The neighborhood pizza parlor has been hosting Monday night jazz for years; late pianist Bobby Peterson once was a regular performer, along with other instrumental duos. Then Denny Malmberg teamed with young vocalist Jose James. About two and a half years ago, Charmin paired with Malmberg. “It started with just Mondays and they added Wednesdays—it was just supposed to be for a while over the summer and that has been going for a year now.” Working the crowd at Fireside has helped Charmin overcome what she regards as her innate shyness. “I’m an introvert, really, so I’ve have worked to overcome that--either you help people along to come with you or it’s just Them and You, and that’s not what it’s about. I’m learning to get to the ones I don’t think I can reach.” The audience is welcoming but the space at Fireside is tiny, even for two musicians. “They are talking about taking out one booth and making more room—that would be great! We threw a party for Larry Malmberg the other night, he brought his accordion and Cliff Brunzell and a few other musicians cane and sat in, too…The waitstaff and owner are fun to work for.”

Gigging Around Town

Sometimes, after they have heard Charmin weekly, her audience will follow her to another venue—there is no shortage of opportunities to hear Charmin these days. A new project last April has been fronting the Jerry O’Hagan Orchestra at the Cinema Ballroom, a new venue in a renovated movie theater in St. Paul’s Groveland neighborhood. “We’ve developed a loyal following of people who come every week just to dance. And we cover all the bases, foxtrot, waltz, cha-chas, tangos and West Coast swing.”

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Charmin and the Rick Carlson Quartet©Andrea Canter
Charmin has also become a regular performer at Cue at the Guthrie—often with Joel Shapira (as Charmin & Shapira With Friends) or the Wolverines Trio, playing for the before and after theater crowd on weekends, as well as for anyone who comes into the new landmark setting just to enjoy music and dinner. Charmin and Shapira have also appeared about monthly at the Midtown Global Market, for the midday crowd on Saturdays. It’s a convenient venue for Charmin who lives just a few blocks from the converted Sears complex. With Denny Malmberg, she also has a standing Sunday gig at Kozy’s at Galleria (Edina) in addition to the two nights at Fireside, and finds time to sing with Doug Haining’s Twin Cities Seven. “I’d like to work with them more, but it is hard to come up with enough money for a group that size. I’m happy to say that we will be performing our Copecetic Christmas Show during the holiday season at the Capri, the ‘Copacetic Christmas Carol’ that Doug Haining and I wrote together based on Charles Dicken’s A Christmas Carol. We put a hep swing to it!” And other events loom on the horizon—her annual holiday appearances with Cliff Brunzell’s Golden Strings at Jax Café, New Year’s Eve at Jax with the Twin Cities Seven, and hopefully a reprise of the “Tribute to Nat King Cole, Billie Holiday and Sarah Vaughn” held at the small Capri last summer. Featuring Charmin, Dennis Spears and Debbie Duncan, “the show sold out and people were disappointed that they couldn’t get tickets, so we want to bring it back.”

Time for Songwriting

Does Charmin have any “down time?” It depends how you define it! Tuesdays and Thursdays are generally her gig-free nights, and she savors that time for social contacts, catching up with paperwork and, recently, delving into the work of composer. In the coming year, Charmin wants to use her time for writing. “I’m working with a poet… We’re putting our heads together, and now that I have a real piano, it is so much nicer to sit down and work on things. I’m learning composition, I’ve been consulting with musicians about composition and theory.” This is not her first effort at composing, as she did include some original songs on her very first CD. “Keith Boyles [bassist] and I did some collaboration. Now I want more background knowledge regarding what I am doing with composition, so when I practice, I break it down--what was the composer intending here, what progressions do they use here?”

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At the AQ, December 2005©Andrea Canter
And as she works toward releasing a recording of original material, Charmin also finds herself “resurrecting older tunes and adding new ones that I never got to… If you are working with people on a regular basis, you need to do that or it gets boring doing the same tunes, so you have to add new music. Like with Denny, because I work with him three times per week, we need new material all the time.” Charmin also expands her repertoire in preparation for private gigs like weddings, when she has “to learn songs I wouldn’t normally do. In my down time I am learning those songs. But all the preparation does not really seem like working, especially when I sit down at the piano…I studied classical piano, and I can read music although I don’t sight read very well. And it’s fun to sit down and take out my classical music and play it.”

It’s Tuesday, and we finish our coffee and conversation. Charmin heads out to the dentist, one of those other activities that gets squeezed into a Tuesday or Thursday of “down time, in between duets at Fireside Pizza, before a weekend of Charmin & Shapira sets at Cue at the Guthrie and/or in the atrium of the Midtown Global Market, before a Sunday brunch at Kozy’s and a Sunday night at the Cinema Ballroom. Unless, of course, she is in a club in Barcelona or a festival on an exotic island…

Visit www.charmsongs.com or www.myspace.com/charminmichelle for Charmin’s current gig calendar. Upcoming events include Charmin & Shapira at the Dakota Jazz Club in downtown Minneapolis on Tuesday, October 2 (7-11 pm; www.dakotacooks.com) and at the Midtown Global Market (Chicago and Lake Street in Minneapolis) on Saturday, October 6 (12:30-2 pm).

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