John Vance
Dreamsville
Erawan Records

Here’s a singer that you’re going to love, and he’s the real thing. Instead of being a vocalist who is aspiring to be an actor, Virginia native, John Vance eschewed a fledgling acting career in order to pursue his love of jazz. The sublime , passion, conviction, and honesty, in his delivery documents, the wisdom choice of his career choice. With a voice being a mixture of b- movie “best buddy“ and Vin Scully, Vance charms your socks off with storytelling veracity.

Songs like “You don’t know what love is“ and “Speak Low” have a veritas that is riveting and pungent. On the other hand, “Darn That Dream “is treated quite snappily, and it works amazingly well.

The backing features some of Los Angeles’ best with the sublime Larry Koonse on guitar, mixing with Vance’s, comforting vibrato during the brilliant “Like a Lover”. Drummer Kendall and bassist Trey Henry, create an unforgettably haunting mood in support of Vance’s evocative treatment of “Invitation,“ and trumpeter Stacy Rowles mixes it up with pianist Jeff Colella on the snappy “I Hadn’t Anyone Till You.”

Multiple listenings are required for Dreamsville, as if you were listening to a reading of a great play. This guy can certainly deliver the lines.

By George Harris, All About Jazz

John Vance
Dreamsville

The raspy little burr he manages at the end of some lines seems deliberate. He enunciates clearly and conveys smarmily bland confidence throughout. The band is Vegas bright and producer Ron Aprea’s arrangements serve the session more than adequately. The title track is the one that doesn’t fit, with Matt Aprea’s violin electronically multiplied and Angela DeNiro’s voice turned into a vocal sound effect.

Dreamsville is John Vance’s follow up to his excellent debut disc It's Allright With Me, and finds him moving appreciably Jazz-wise on the old Jazz/ cabaret continuum, thanks primarily to the group his pianist, Jeff Colella, “assembed for (the) project.” Happily, drummer, Kendall Kay, did not see this as a cabaret date and makes certain his point of view prevails, with some very jagged propulsion on “Darn That Dream,” and some bustling drum work on Vance’s beautifully designed readings of “Invitation” and “You Don’t Know What Love Is.” Kay keeps things nicely stirred pretty much throughout the session. Stacy Rowles plays tasty open flugelhorn on “I Hadn't Anyone Till You,” and muted trumpet on “Speak Low.” Guitarist, Larry Koonse, solos lyrically on “My Foolish Heart,” fleetly on “Better Than Anythinh,” and plays some lovely notes beneath Vance’s ravishing reading of “Like A Lover.” The vocalist offers a definitive a version of “My Foolish Heart,” including the verse, and he does it with understatement, nuance, and an absolute commitment to the lyric. His voice is in the Tormé range, perhaps not as textured as was Mel’s, but with deceptive strength, as when he builds to a well conceived denouement on “Invitation.” His speech inflected phrasing identifies him again with Tormé pere, as well as with Francis Albert and his surviving votaries. I even hear some Buddy Barnes in Vance’s vocal sound, which only makes me like him (Vance) that much more.

I did not recognize two of the titles, when I first saw the CD. “Not Like” turns out to be a rather austere song by Jeremy Lubbock, set here as a piano/vocal tour de force. After listening, I realized I had heard Madeline Eastman sing it, on her CD of piano/vocal duets. If one feels obliged to find the disc’s weakest link, it would be Vance and Colella’s original tune, “If You Go,” which seems to contain the germ of a usable song writing hook in the way it works its irony—i.e.—”your hand would always be in mine, but not so, if you go.” Vance’s lyric becomes a bit predictably strained in setting up its, “not so, if you go” punch line, but as flawed an attempt at song smithing as it is, it’s infinitely superior to the many original song scribbles that protract so many releases nowadays, such as the first one reviewed above. So, this meager Colella/Vance ditty aside, this is a disc which confirms John Vance’s vocal preeminence. No sophomore jinx here.

Alan Bargebuhr, Cadence Magazine

John Vance
Dreamsville

"Dreamsville" from jazz singer and thespian John Vance is his long awaited second album. Vance's vocals have a velvety texture to them that flow delicately over listeners' ears, and his romantic messages will put anyone in just the right mood.

"I Hadn't Anyone Till You" has Vance's cushy timbre along with percussion and piano play. He croons about not thinking he would find his special someone, but then out of thin air she appeared. "I was a lonely one till you. I used to lie awake and wonder if there could be a someone in the wide world just made for me." 

On "Darn That Dream" there is slow, yet rhythmic drum that is sensual in its pace. This track is about a vision Vance had about his sweetheart sticking around, when in reality she keeps leaving him. "Darn that dream, I dream each night you say you love me and you'll hold me tight but when I awake you are out of sight. Oh darn that dream." It seems Vance is silently cursing his recurrent visual and the fact that his lady just won't stick around even though his love for her is certain. 

"Like A Lover" has slow and practiced guitar work that brings forth a melodic tone. Vance's vocals are sweet and emote a cool vibe as he sensually explains the physical specialties of his companion. He softly sings: "Like a lover...Slowly rises and kisses you awake. Your smile is soft and drowsy as you let it play upon your face. Oh how I dream how I might be like the morning sun to you." 

On "Invitation" there is percussion and soft guitar strumming. Listeners can hear each string being played. Vance slyly sings about a mysterious woman that he keeps coming into contact with and is luring him in more with each sighting. "You and your smile hold a strange invitation. Somehow it seems we've shared our dreams but where? Time after time in a room full of strangers. Out of blue suddenly you we're there. Wherever I go you're the glow of temptation glancing my way." It seems Vance is bewitched more each time he encounters this woman, and listeners might question if a future meeting might breed a romance. 

John Vance's "Dreamsville" has a bouquet of tracks about fantasies, and each song is perfect to play during a candlelit dinner where a life changing proposal might be asked. 

Sari N. Kent, The Celebrity Cafe

Overture Article
February 2004

John Vance is a member of SAG and AFTRA. His debut album features Local 47 members Jeff Colella, Musical Director and Pianist; Randy Landas, Bass; and Rod Harbour; Drums. Here he discusses his background and his music. 

I've been singing as long as I can remember, and it's always been my dream to record an album.  After a decade of singing only on rare occasions, I stumbled across an open mic night at the Gardenia in Hollywood in early 2001. After a few Tuesday nights there, I was approached by the management and asked if I'd like a booking. I said "yes." My first club show, after probably a dozen years, was in May of that year. I contacted a jazz play- er I'd known for many years, Jeff Colella (Local 47), and we Feinstein, and I loved it. The Antonio Carlos Jobim songs, "One Note Samba" and "Wave," I've loved since I first heard them as a kid in the 1960s. 

"Easy Living," a song sung by Billie Holiday, was covered in more recent times by Diane Schurr, who I greatly admire. As a matter of fact, it was Nancy Wilson's version of "Wave" that first caught my attention. I've always been a fan of those women, as well as Ella Fitzgerald, Sarah Vaughan, Carmen McRae, Frank Sinatra, and of course, Tony Bennett and Mel.

My best friend, Perry Hart, who is an award-winning musical director in Los Angeles, insisted I work with Jeff. He had played for Perry's group, String of Pearls, on many occasions during the years they were working. Knowing Jeff's history, and the fact that he has worked for Lou Rawls for years, frankly intimidated me. As it turns out, we formed a wonderful collaborative partnership, and Jeff ended up producing my record with me. Along with Jeff, I was fortunate to work with two wonder- ful musicians who I have also known for many years in association with Perry and String of Pearls. They are: Randy Landas (Local 47) on bass and Rod Harbour (Local 47) on drums. Long story short, after a couple of gigs at the Gardena in 2001, we started talking about recording the music. That's how It's All Right With Me was born. We went into the studio to lay down all the pri- mary tracks in June of 2002. 

Some of the songs on the CD, "Two for the Road," "One Note Samba" and "The Best is Yet to Come," have been with me since my first club act at Bernie's in Westwood, CA in 1984. (Perry Hart was my Musical Director and Arranger in those days.) I guess there's a story behind my choice of each tune. I picked "I'll Take Romance" because of Eydie Gormé's mid-1950s version. "Isn't it Romantic?" was revived by Mel Tormé and Jack Jones (with whom I worked on The Glenn Miller Band Reunion), and on and on. The Cole Porter classic, "It's All Right With Me," was given a Latin arrangement by Jeff Colella, which really makes it kick, and it is the most up of the up-tempos on the record. I love not only the song, as we did it, but the sentiment behind the title. I'm at a point in my life where I can say things are pretty good, and it really is all right with me. 

Those of us who want to produce music these days, who aren't already signed to labels, are very fortunate. Digital recording and CD technology, a burgeoning independent music market, and the internet are contributing factors which make a project like mine viable in a way it wouldn't have been even 10 years ago. I was able to put together a collection of songs I love, and record them with musicians I hold in high regard. It has been a wonderful and amazing journey. I was also helped along the way by studio owner/engineer Scott Fraser. We spent countless hours in the studio editing and he was tireless, endlessly patient and a complete pro. Doug Schwartz, who mastered the proj- ect, was equally helpful and extremely proficient. The oft-used phrase, a labor of love, absolutely applies to It's All Right With Me. It's that, and so much more.
For more information, please visit www.johnvance.com.

CD Reviews
John Vance It's All Right With Me (Erawan) 
July 2004 

Light and comfortable, John Vance sings a dozen chestnuts from the Great American Songbook with accompaniment from pianist Jeff Colella, bassist Randy Landas and drummer Rod Harbour. His pleasant vocal delivery affords an accurate interpretation for each selection. While Kenny Rankin's "Haven't We Met" cannot qualify just yet for the Great Songbook title, it's one of those lovely tunes that fits the description nevertheless. 

Vance turns each piece into a gentle caress. Convincing in his approach, the actor/singer has made audio samples from the album available at www.johnvance.com.

"The Nearness Of You" moves slow- ly with gentle persuasion. Vance reaches deep into his soul to find the right emotional feeling. An accurate singer with a limited range, he eschews forced vocal displays in lieu of heartfelt passion. Like the guy next door, Vance interprets each song honestly with sincere reason. He's not out to punch his ticket or to add another few lines to his performance resume. This singer is working for all the right reasons: just for the love of it. 

"The Best Is Yet To Come" proves this point better than any of the others on his program. While we're used to feeling the shine of neon lights along with this Cy Coleman gem, Vance refrains from adding the usual glitz and glamour to its interpretation. Instead, he delivers the lyrics convincingly with subtleness of spirit. It's the same quality that he shares with "Easy Living." The latter arrange- ment is expected; it's the only logical way to present this lovely ballad. But Vance's other Great American Songbook interpretations come as a welcome surprise and bring his heartfelt delivery into the family.

Jim Santella, L.A. Jazz Scene

John Vance Dreamsville (Erawan)
October 2007 Issue No. 241 

Stepping casually into a heartfelt cabaret mood for his 2nd album as leader, John Vance sings a dozen familiar songs and one original tune with several local all-stars as his instrumental partners. Pianist Jeff Colella, guitarist Larry Koonse, double bassist Trey Henry and drummer Kendall Kay help make this session authentic, while trumpeter Stacy Rowles sits in for "Speak Low” and “I Hadn't Anyone Till You."

Koonse's delicate guitar arpeggios make "Like a Lover" sizzle, while Henry's interesting bass figures take "You Don't Know What Love Is" and "Invitation" for an adventurous ride. Drummer Kay's superb brushwork gives "Darn That Dream" a workout, while his ride cymbal gives "Better Than Anything" its swing. Pianist Colella partners with Vance in a highly supportive role that brings the entire ensemble together seamlessly.

Vance and Colella wrote "If You Go" with an exotic texture that tells the story of parting 

parting under irreversible circumstances. Dreams and detailed plans are changed by inevitable actions, while hearts tug and pull in opposite directions. It's a fine example of the storytelling nature that Vance enjoys sharing with his audience. By working with a stellar crew, he's been able to put together a strong showing this time out, allowing the stories plenty of time to linger in our hearts. 

Jim Santella, L.A. Jazz Scene

John Vance: It's All Right With Me
March 1, 2004

Another day dawns and another new male vocalist interpreting the Great American Songbook appears... but here's one who does it right. John Vance, with acting credentials from television, commercials and film, wanted to pursue his muse in becoming a jazz singer in 2001 and has co-produced this collection of twelve tracks. He is a resident in the L.A. area and also appears in local clubs there.

This album is a winner on several levels. Mr.Vance has a pleasant voice, not a significant one, and I would compare it somewhat to a Chet Baker presentation, on at least a portion of these songs. Baker was lambasted for not being a "good singer," which only acted in stimulating both the public and his own incentive to do more. Let's compare John Vance to the most popular male jazz vocalists to come along in the past year.

Peter Cincotti has the public convinced that he's the next Harry Connick Jr. I'm convinced that he's got a great public relations machine behind him and that he's the next supermodel for The Gap or Old Navy. He's a pretty good pianist but sings without any soul. Michael Buble, a young Canadian vocalist, with a good stage presence, has a pleasant delivery on pop songs with a trace of Mel Torme. He is not a jazz vocalist. Although I've never seen or heard John Vance other than this album, I'd put him ahead of either of these folks. He has a jazz sensibility that sets him apart from the others.

The choice of material here is just right. Whether it's timing or good planning, several of these songs are ready for rediscovery, having been performed ad nauseum in the past. Good examples are the opening Oscar Hammerstein piece "I'll Take Romance," Kenny Rankin's "Haven't We Met," and the Warren-Gordon "There Will Never Be Another You"—all staples of a typical 1960s bistro set list. Others like the Ned Washington-Hoagy Carmichael "The Nearness of You" and Mancini's film music "Two For The Road" never got enough attention along the way. Sure, there are some songs here that we could do without, like the title tune and even the Jobim classic "Wave," that have grown tired.

Vance and his trio, Jeff Colella, Randy Landas and Rod Harbour succeed in conveying a sensitive and swinging piano trio sound that is perfect accompaniment to the singer. Mr. Vance shows a "cabaret" affinity in selecting the right songs for the right occasion. We are indeed advised that this album, released late last year, won a "Best Cabaret CD of 2003" by the Beverly Hills Outlook.

Michael P. Gladstone, All About Jazz