"In Alex Pangman's musical world, hot tunes flow like bathtub gin in a back-alley speakeasy. She roars through a repertoire of vintage swing and blues, possessed by the coltish spirit of a young Mildred Bailey or Ella Fitzgerald." –The Montreal Gazette
When musicians focus on jazz from the past, they usually zero in on the usual hot spots: 1940s-50s big band and bebop, 1960s-70s experimental, various fusions incorporating gypsy jazz, swing, soul, smooth, and avant-garde. Canadian vocalist Alex Pangman veered from the usual with her unusual take on a favored vintage era, the 1930s, 1933 pop specifically.
Released on July 12, 2011 through Justin Time Records—in a U.S. debut, “33” takes a collection of popular 1933 songs, plus one of her own 1930s-esque compositions, and makes them appealing to a whole new generation. Recorded when Pangman was 33 (ha!), the 11-song collection fairly floats through the light, sprite, lively, and slightly dirty period picking up on swing, country, blues.
“As a longtime devotee of music from the classic genre, I find something of a kinship with the music that buoyed nations through the 'dirty thirties,’” Pangman explained. “The initial concept of this record was to honor that kind of spirit with songs popular in 1933; indeed the bulk of the material (save for one self-penned number) are songs that were popular in the year 1933 - recorded while I was 33."
That Alex Pangman completed her most recent recording project (with her Alleycats band and guest vocalists Ron Sexsmith and Denzal Sinclaire) on a double-lung transplant second chance is even more unusual, and amazing. Her voice never suffers from having survived lung disease — a byproduct of gigging in smoky bars and nightclubs. Instead, it benefits from the flavor of the 1930s’ half-singing, half-bantering performance style. When she sings straightforwardly, she holds onto a naturally amplified, well-toned depth. And she knows when to laugh, talk-scat, or let the breaks show, depending on the meaning of each song.
"As I sang 'Thanks' in the studio, flashes of my life, romantic and otherwise, came rushing back to me and I was halted for a time and unable to continue due to all the emotions the song brought out in me. It needs to be said that I am so grateful to be able to step into the recording studio and make music again with new lungs... to have been blessed with love in so many ways." –Alex Pangman
Admittedly, Pangman’s voice breaks a lot in the songs. But those breaks can be forgiven, considering the circumstances and the poignancy of life imitating art in some of the more touching song selections.
Bing Crosby’s “Thanks” reminded the vocalist/composer of her own life’s seminal moments, drawing upon even more of her emotions, which elevated a mere replay into a truly authentic reinvention. “As I sang 'Thanks' in the studio, flashes of my life, romantic and otherwise, came rushing back to me and I was halted for a time and unable to continue due to all the emotions the song brought out in me. It needs to be said that I am so grateful to be able to step into the recording studio and make music again with new lungs... to have been blessed with love in so many ways."
The one and only original composition she contributed to the album fits right in amongst the pre-existing 1933 hits—evidence of her proficiency and passion for this period. “As Loverly Lovers Do,” from the lexicon of the period, to the sotto trumpet, trickling piano, and of course, that loverly girlish voice, it’s all spot-on. Here is where Pangman really shines. Her vocals are intact, strong, on point, yet delicate, vulnerable, and distinctive.
A lot of so-called jazz vocalists should take note. Alex Pangman can sing rings around most of them, because she sings with passion, joy, and heart, and never loses herself in the mix.
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