COBBY BRZESKI: Vintage Girl in a Modern World

The title says it all. Vocalist Cobby Brzeski takes us on a nostalgic musical voyage back to the innocent days of the late 1940s and 1950s with her CD, Vintage Girl in a Modern World. Seven of the 10 tracks are Brzeski’s originals, featuring her catchy lyrics on the topic of missed relationship opportunities and a yearning for true love, accompanied by her silky smooth motifs on flute.

The opening track, “Be Mine,” immediately signals that theme. “I know deep down you want me, but the timing must be right…oh please just say that the timing is right this time.” The immediate presence of the Andrew Sisters-style vocal harmonies takes us quickly back to black and white televisions and homemade dinners as Brezski builds vocally into some nicely phrased scat singing.

The bouncy “Happy Being with You” feels like you’re at your favorite piano bar as Brzeski shines again with some nifty scat vocals amid the playful muted trumpet phrases from Steven Montecuco, followed by the in-the-pocket swing groove on “You Make Me Laugh.” “I’m so glad you’re my honey…’cause the way you joke around, you’re so gosh darn funny.”

Some top-notch solos from Brzeski on flute and Kento Tsubosaka on piano shimmer on the up-tempo “You’re Always in the Back of my Mind.” “Never thought I’d be falling for you…now my heart is wrapped up in you.” Executive producer of the project, Andrew Bustamante, contributes some lovely flute motifs for his torch song ballad, “Always Missing You,” illuminated by Brzeski’s sultry vocal phrases.

The campy “Puppy Love” brings back shades of the Lennon Sisters’ vocal harmonies. “Puppy love, puppy love, just what I’ve been dreaming of…but you don’t have a clue.” A nice 180-degree turn happens on the minor key blues ballad “No Sympathy,” exhibiting Brzeski’s versatile vocal stylings. “Howl at the moon like the wolf that you are…if you love me you’ll let me go.”

Brzeski shines vocally on two standards. The first, “These Foolish Things,” has Cameron McIntyre riffing effortlessly on clarinet behind her vocal lines. The second, “All of Me,” in obligatory swing mode, has Brezski stepping out again with another excellent scat singing solo, all in the comfy key of F Major.

The album concludes in grand Dixieland fashion with “True Love Can Be True,” with McIntyre, Montecuco and trombonist Stephan Tenney swapping licks in polyphonic bliss. The happy go lucky arrangement seems to leave the listener with a positive message of love lost and love found: “you’re my favorite one, you’re the perfect company…you have proved that true love can be true.” A happy ending to a delightful musical stroll back to those memorable days of innocence.