Romance constitutes the latest effort from Simone Kopmajer, a relative newcomer to US audiences. She adds her considerable talent to the growing list of new female singers who are both beautiful on the outside and vocally gifted. Kopmajer has performed throughout her native Austria since emerging in 2003, making stops at the Cocoa Beach jazz Fest and the Jazz Aspen Snowmass festival in this country. For this date, producer Todd Barkan assembled a stellar supporting cast; John di Martino, veteran pianist and professor at the Harbor Conservatory for the performing Arts, saxophonist Eric Alexander, drummer Tim Horner, and superb bassist George Mraz.

With this lineup, presumptions must have been high, and Kopmajer does not disappoint. She posses that unique ability to exhibit her own approach while remaining true to the tradition. Sounding like “so-and-so” is not something that immediately comes to mind! She did not pen any of the compositions, but names like Mercer, Kern, Hart Rogers, Ellington, Legrand and Hammerstein should give you a clue to what lies ahead. Tunes from Bill Withers and Bob Telson add some contemporary freshness to the program.

As expected, the quartet is rock solid throughout. Di Martino´s arrangements and accompniment are textbook examples of just how to guide a vocalist, an inseparable part of all great jazz singers. His solos demand equal attention as well. Alexander adds the perfect amount of invention which both contrasts and highlights Kopmajer´s voice. Last but not least, Horner and Mraz lay down a swinging foundation that oozes both taste and textur throughout the set. How could anyone be less than ecstatic with these guys around?

Standouts from the date includes Telson´s “Calling You”, a tune frome the feature film “Bagdad Café.” Kopmajer gives this semihaunting melody a wonderful touch of melancholy, adding subtle emotional clues which definitely caught my attention. How does she know this stuff already? Another gem is the venerable “The Way You Look Tonight.” The uncommon and compelling introduction leads into to a brisk Latin-esque execution which makes you want to “shake that booty” for sure! Kopmajer soars along gracefully while the group pulsates below, all adding up to shear delight.

I ran this recording by a ´non-jazz´ friend who completely enjoyed the music, certainly a positive omen for a jazz singer. That Kopmajer is just 23 years old points toward a bright future and more good music. From a technical point of view, the recording is well crafted, as obvious care and considerable skill were employed in the studio. Instruments are properly defined and Kopmajer´s voice is sumptuously placed right where it should be.

This set is heartily recommended for those interested in excellent jazz vocals, rooted in the past while learning toward the future!