Marty Williams is reviewed by Audiophile Audition

Marty Williams – Long Time Comin’ – In Moon Bay Records

SF Bay Area jazz singer brings mellow sophistication to standard classics

by: Robbie Gerson

Marty Williams – Long Time Comin’ – In Moon Bay Records, 71:19 ****:
(Marty Williams – piano, vocals; Eric Swinderman – guitar; Ruth Davies – bass; Jon Evans – bass; Ranzel Merritt – drums)

Jazz vocalists have struggled for acceptance. Key changes, tempo shifts and spontaneity make it challenging for any singer. Marty Williams is one who has accepted the challenge. A staple on the Bay area jazz scene, Williams blends his soulful vocals with deft piano licks in interpreting many genres of music. He has admitted to getting a “calling” to be a musician after listening to Ahmad Jamal’s Voices album. Among his many influences are Les McCann, Thelonious Monk, Oscar Brown Jr., Hampton Hawes, Shirley Horn, Ramsey Lewis and Miles Davis. For over twenty-five years, his reputation as a jazz player has evolved.

His latest release, Long Time Comin’, is an accessible project covering a variety of composers. The jazzy side emerges on “Falling In Love With Love Again”. With idiosyncratic vocals that bring to mind Louis Armstrong, the quartet backs him up flawlessly. The syncopated piano licks are economical and fit the mood. Selecting the iconic arrangement of the Les McCann/Eddie Harris rendition of “Compared To What” might seem impudent, but Williams brings his smooth vibe to the song. The piano runs are refined, not intended to compete with prior versions. A bluesy aesthetic permeates the sound. A clever take on John Lennon’s Beatles classic, “Come Together” is slower and funk-infused. Wah wah guitar pedal (Eric Swinderman) complements the piano hooks. “Mercy Mercy, Mercy” (Josef Zawinul) gets the signature fluid treatment and fits the band’s style. Williams has arranged the songs to showcase a low-key bluesy approach.
There is a deep emotional resonance in many of the cuts. The standout “Brother (Where Are You?)” (Oscar Brown Jr.) has a mournful sentiment. Swinderman’s guitar solo is fluid and the piece recalls the reflective narratives of 1970s soul. The reinvention of Bobby Hebb’s AM hit, “Sunny”, as a late night jazz sketch is interesting. Williams’ piano accompaniment is subtle but emotive. He adds some rhythmic chording to change the structure. Many of the tracks are extended and offer the group ample opportunity to jam. “Monk’s Dream” maintains a funky edge, but delivers a straight ahead, traditional jazz interpretation.  Cole Porter’s “Love For Sale” has a breeziness that is captured by the depth of the arrangement. Each song is adapted to Williams’ intuitive harmonics.

Marty Williams Long Time Comin’ is a step forward for jazz vocals.  
TrackList: Brother (Where Are You); Caravan; Come Together; Compared To What; Falling In Love Again; Love For Sale; Mercy, Mercy, Mercy; Monk’s Dream; On A Clear Day; Sunny; Sweet And Lovely; The Look Of Love 


Marty Williams is reviewed by Oliver di Place


Oliver di Place

Musings on music. New Discoveries and Old Favorites.

by: Darius Rips
Marty WilliamsCome Together 


Marty Williams’ album Long Time Comin’ is a program of standards, many well known. Williams has a broad definition of “standards”; Come Together is the old Beatles song. Williams makes it a funky masterpiece, and he makes a musical connection to jazz by also including a version of Mercy Mercy Mercy on the album. The band is just drums, bass, and guitar, plus Williams at the piano. But the guitar part here is more like a horn part. To be honest, I’ve never been quite sure what this song is about, and I’m still not. But Wiiliams’ arrangement cooks, and his vocal brings out a bluesy quality I’ve never heard in the song before, and it really works. Most of the songs here get a more traditional treatment. But throughout the album, it is clear that Williams both loves and believes in his material. The album notes contain a moving dedication to his wife, and his performance of the love songs here always rings true and never sounds forced.


Marty Williams is reviewed by Yahoo

Marty Williams Releases 
Long Time Comin'
In Moon Bay RecordsBy:  Susan Frances
Smoky and alluring, singer-songwriter-pianist Marty Williams plays vintage jazz and classic pop tunes with a reflective glint in his vocals and a laid-back stride in his piano arrangements.
His new CD, Long Time Comin' pays homage to some of the great songwriters of the 20th century creating a crossover breed where jazz and pop converges into a harmonious mix. His remake of standards by Duke Ellington, Irving Mills, Juan Tizol, Paul McCartney, John Lennon, Burt Bacharach and Hal David exhibit a modern edge to them though they are steep in yesteryear.
Williams' vocal extension of the word "brother" in Oscar Brown Jr.'s track by that name leaves a lasting impression on the listener's mind. Williams moves through the lyrics in a fashion that allows him to hang each word on a mantle as if they were precious keepsakes. Other numbers boost the rhythmic tempo like in Duke Ellington's "Caravan" and the funky gait of Eugene McDaniels tune "Compared To What". Williams does a sweet bluesy rendition of Paul McCartney and John Lennon's song "Come Together" bringing out the melody's penchant to dig into the listener's emotions. Williams puts a showtunes veneer on "Falling in Love" penned by Friedrich Hollander, while the energetic pitter-patter of "Mercy Mercy Mercy" resonates a dancehall vibe.Williams' remake of "Monk's Dream" from Thelonious Monk and John Hendricks accentuates the slinky piano motifs, and the shuffling beats of "On a Clear Day" by Alan J. Lerner and Burton Lane induce a merry mood in the album contrasting the mellow atmospherics of "Sunny" written by Bobby Hebb. The perky groove of "Sweet and Lovely" from Gus Arnheim hoists Williams' vocals on a pedestal as the music exudes pleasing sensations, and then shifts into the silky textures of "The Look of Love" by Burt Bacharach and Hal David.
Marty Williams rekindles some of jazz and pop music's most prized possessions and personalizes them to his likeness. Long Time Comin' is an album that reminisces about the past and brings its relevance into the present.
Tracklisting: Brother, Caravan, Come Together, Compared To What, Falling in Love, Again, Love for Sale, Mercy Mercy Mercy, Monk's Dream, On A Clear Day, Sunny Sweet and Lovely, The Look of Love
Personnel: Marty Williams - piano and vocals, Eric Swinderman - guitar, Ruth Davies - bass, Jon Evans - bass, and Ranzel Merritt - drums


Marty Williams is reviewed by Gapplegate Guitar & Bass Blog

Marty Williams' Old School Soul Jazz: "Long Time Comin'"

Marty Williams works within a style most definitely old-school. He has a piano approach that owes something to the original funk players (the gospel-soul tinged sensibility of Horace Silver and Bobby Timmons, etc.). He sings in a soulful husky voice that reminds just a little of Gil Scott-Heron. 
Then he has a rootsy band of himself on piano, plus guitar, bass and drums. So in a way his music is an extension of those small group outings of Les McCann or Mose Allison. His Long Tome Comin" (In A Moon Bay Records) album hits a spot that to me refreshes that style and refreshes the ears like a sorbet between courses (not that I have the life-style right now that involves such niceties).

He covers a good selection of pop standards ("Love for Sale"), jazz standards ("Monk's Dream"), rock standards ("Come Together"), soul-jazz standards ("Compared to What"), soul standards ["Brother (Where Are You")], and he does it all in his own down-home, swinging way. The band sounds like they've been playing together for a while too. They are a well-oiled tight-loose organization that has room for Eric Swinderman's guitar and Marty's piano. There is some interesting rearranging too--like on "Monk's Dream."

After 25 years on the San Francisco jazz scene, Marty has arrived. Long Time Comin' is an apt description of it all. He makes music that makes me glad he's here. 


Marty Williams is reviewed by Jazz Chicago

by:  Brad Walseth
Marty Williams - "Long Time Comin' " 
(In Moon Bay)
Former Milwaukean Marty Williams is a fixture on the San Francisco Bay area jazz scene as a pianist, singer and entertainer. His performances have been described as a mixture of "Oscar Brown, Jr., Mose Allison, Monk and Redd Foxx" (?!) I don't know about the latter - I don't think I detected any blue language on this album (maybe he went family friendly on record?), but the other elements are certainly there. Williams' smooth, yet gravelly and well-worn, easy going, yet lively delivery is a treat, and he tickles the ivories pretty nicely too. The song list itself indicates an active and curious mind, with songs including Beatles' "Come Together," Cole Porter's "Love for Sale," "Caravan," "Monk's Dream," "Mercy, Mercy, Mercy," "Sunny," "The Look of Love" and the always enjoyable Eugene McDaniels-written rave up "Compared to What" ( a hit for Les McCann). The singer/pianist is backed by guitarist Eric Swinderman - who proves a nice counterpart with an attractive bluesy feel (immediately apparent on the heartfelt opening Oscar Brown Jr. classic "Brother (Where Are You)"), intuitive drummer Ranzel Merritt and warm-toned bassists Ruth Davies and Jon Evans. Throughout this enjoyable set of R&B-flavored jazz, William's joyous personality shines through on these tracks, and I'd bet my bottom dollar he's a hoot in concert. This album is a lot of fun and the next best thing to catching him live. 


Marty Williams is reviewed by O's Place

by:  D. Oscar Groomes

Marty Williams   -   Long Time Comin’   4/4
O's Notes: Welcome to the world of pianist, singer and producer Marty Williams, a man who has had music in his veins from an early age. Ahmad Jamal inspired him but his playing takes on a more soulful bluesy note backed by a solid rhythm section. Marty has a raspy voice but his tone is spot on lending to a unique and enjoyable character. There are a dozen standards here that you've heard before but not in this light! Guitarist Eric Swinderman does an excellent job complimenting Williams with both funky rhythms and lead lines. They swing on "On A Clear Day" but it's mostly jazzy blues. The program is strong start to finish highlighted by "Brother", "Sunny" and the title track. If you get a chance to hear this cat live, take it!


Marty Williams is reviewed by the Examiner

Marty Williams May Have Been A Long Time Comin'
by:  Douglas Reid
Certainly not a newcomer to the music scene, Marty Williams has several instrumental jazz titles in his discography including: The Fool on the HillIt’s No Illusion, and his first foray into the vocal jazz arena with Long Time Comin’.
Born in Indiana, Marty started playing piano at the tender age of 20.  Marty's formal training came well after he received his "calling" -- he tells the story of a snowy night in Milwaukee listening to Ahmad Jamal's album Voices as the turning point for his musical journey.  A part of the San Francisco jazz scene for well over 25 years, Williams was a member of the notable group "Cadence," featuring Eric Swinderman (guitar) Ruth Davies (bass) Babatunde Lea (drums) Williams continues to play regularly with Eric Swinderman and Ruth Davies around the San Francisco Bay Area.
This year marked the introduction of Marty Williams as a prolific stylist and vocalist, with the release of Long Time Comin’.  His voice is reminiscent of Joe Cocker, exhibiting every ounce of soul and grit.  Williams takes these gems in a different direction highlighting a soulful side of these well known classics. 
The opener, an Oscar Brown Jr. tune “Brother Where Are You,” highlights the epitome of Williams’ vocal style and abilities on piano.  A relaxed and moody feel, Williams convincingly portrays the moving lyrics.  Eric Swinderman (guitar) offers a sensitive and introspective solo creating a compelling storyline musically.Paul McCartney’s “Come Together” is quickly becoming a popular track in the jazz genre, and Williams’ arrangement is a grooving rendition in the vein of Mose Allison.  The backing ensemble creates and thoroughly locked groove that allows Williams the opportunity to accent his musical style via the ivory keys on this cuts solo section.
A standout track that showcases Williams’ playful style is “Compared to What.”  Written by, Eugene McDaniels, this is a wonderful opportunity to hear Williams stretch out as a pianist while the ensemble romps and rolls through this exceptional cut.
Williams has truly put together a collection of unique selections not normally combined together on a jazz album, tied together by a stellar ensemble featuring, Marty Williams (piano, vocals), Eric Swinderman (guitar), Ruth Davies (bass), Jon Evans (bass), Ranzel Merritt (drums) the key anchor to this enjoyable recording is the distinctive vocals of Marty Williams.  Appropriately titled Long Time Comin’, it is evident from the first listen, Williams has truly come into his own with this vocal offering.


Marty Williams is reviewed by Improvijazzation Nation

by:  Rotcod Zzaj
Marty Williams – LONG TIME COMIN’: I’m not 100% sure, but I believe I hear a little bit of a younger Les McCann in this fine pianist’s vocals (not to mention Marvin).  Marty has a really nice bluesy thang goin’ on for the opener, “Brother – Where Are You“… nice keys, nice vocals & a real feeling of melancholy!  He says he was inspired many years ago by Ahmad Jamal… I definitely hear some o’ ‘dat on “Love For Sale“.  When Marty kicks out an old Les tune (one of my all-time favorites), “Compared To What“, I’m in nostalgia-land instantly, thinkin’ back to the way Les & Eddie did this one oh’ so many years ago… excellent chops from Marty, to be sure.  Turned out to be Marty’s rendition of Cannonball’s “Mercy, Mercy, Mercy” that did it all for me… this was my favorite of the dozen tracks on the CD.  I give this one a MOST HIGHLY RECOMMENDED, as well as an “EQ” (energy quotient) rating of 4.97. This one will spin over & over on my .mp3 player, no doubt! Get more information at www.martywilliams.com Rotcod Zzaj

Marty Williams Continues to Chart at CMJ for 8 weeks

Marty Williams Continues to Chart at CMJ for 8 weeks
Peaking at #9 and this week coming in at #25


Marty Williams continues to chart for 10 weeks at Jazzweek

Marty Williams continues to chart at 
Jazzweek for 10 weeks


Marty Williams continues to chart at CMJ for 7 weeks

Marty Williams continues to chart at 
CMJ for 7 weeks


Marty Williams is reviewed by The Borderland

THE BORDERLAND (musicwatch column)by:  John M. Peters
Marty Williams - Long Time Comin' (InMoonBay Records)For some reason while listening to this new album by pianist and vocalist Marty Williams I was reminded of those classic Verve jazz songbook albums of the 50s and 60s where classic songs were reinterpreted by singers like Ella Fitzgerald and Sarah Vaughan. Here, Mr Williams provides the vocals and the piano and unshakably impresses his own persona on these dozen songs. 
With a quartet of damn fine musicians backing him, this is quite a classy album. Mr Williams has one of those gruff, crackly voices which may at first be the opposite of the smoothness one expects, but actually brings a lot of humanity and feeling to the performances. This is a jazz album but it is equally bluesy as well, and a little exposure via soundtracking on a hit TV series would help no end in spreading the word. The quartet are: Eric Swinderman - guitar, Ruth Davies - bass, Joe Evans - bass, Ranzel Merritt - drums, but Mr Williams swinging and rolling piano commands throughout. The tracks are: Brother (Where Are You), Caravan, Come Together, Compared To What, Love For Sale, Mercy Mercy Mercy, Monk's Dream, On A Clear Day, Sunny, Sweet & Lovely, and The Look Of Love. 
The bottom line with Long Time Comin' is that it is an exuberant, upbeat and musically accomplished album with many highlights and enough variety in terms of source material [Ellington to Zawinul via Bacharach and the Beatles] to act as a great showcase for this splendid musician. What else can I say but highly recommended!
For more information about this artist, album and availability visit:www.martywilliamsmusic.comPosted 3rd March 2011 by 


Marty Williams Continues to Chart at CMJ for 6 weeks

Marty Williams Continues to Chart at CMJ for 6 weeks
This Week Climbing Back up to #14


Marty Williams holds strong for 8 weeks with Jazzweek

San Francisco Gem Marty Williams
Holds strong for his 8th week at Jazzweek


Marty Williams is reviewed by All About Jazz

Long Time Comin' 
Marty Williams | Self Produced (2011)
by:  C. Michael Bailey
Bay Area fixture Marty Williams does not have a pretty singing voice. It doesn't need to be because it is a commanding one—readily identifiable, friendly, accessible and honest. and worth much more than being pretty. Doubly talented, Williams has a piano style right out of the righteous songbook of Junior Mance, Les McCann, and Gene Harris, full of blues, bluster and block chords that inform every song he performs. Together, the two talents make Long Time Comin' a song stylist's dream: hip and smart.
In the dozen songs covered, Williams spans the width and breadth of 20th Century popular music's golden age. From the 1930 Hollander/Lerner "Falling in Love Again" to 1967's Bacharach/David "The Look of Love," Williams applies his own unique stamp to the recital, making all songs his own. Williams imparts an easy, sure swing to all the songs, seasoned with his churchy-roadhouse piano playing. This is most easily heard on his cover of The Beatles' sinister "Come Together," propelled by bassist Ruth Davies, and supercharged with guitarist Eric Swinderman's wah-wah, Williams need only accent the song, which he does with all his funky grace.
A second example of Williams' viral command of music in his performance is "Compared to What." This song is so iconic—so closely associated with Les McCann  and Eddie Harris' nuclear performance at the 1969 Montreux Jazz Festival, documented on Swiss Movement (Rhino, 1969), that covering it is all but unthinkable. But Williams carries it off, with a raging grace and the exquisite soul-jazz piano of which he is a master; the double-fisted vehicle of social protest.
Williams' almost eccentric singing style is best displayed on "Falling in Love Again," "Love for Sale," and "Sunny," where his' vocals remains stylishly behind the beat, in a fractured rhythm recalling Thelonious Monk compositions. Williams achieves perfection in his vocal and piano approach on "Love for Sale" and "Caravan," two of the lengthier pieces on the disc, where his patience and deliberate pacing frame these songs in an architecture conducive to soloing and straight playing. Were these performances any shorter, they would be too short.
It is obvious that Williams enjoys what he is doing, and does it with the relative ease of a true professional. So satisfying is this music, it should be canned and sold as a soul-food staple.http://www.allaboutjazz.com/php/article.php?id=38872Posted 27th February 2011 by 


Marty Williams Continues to Chart at Jazzweek for 7 weeks

Marty Williams Continues to Chart at 
Jazzweek for 7 Weeks


Marty Williams Continues to Chart for 5 weeks

Marty Williams Continues to 
Chart at CMJ for 5 weeks


Marty Williams is reviewed by Jazz Times

CD Review: Marty Williams - Long Time Comin'
Year: 2011
Record Label: In Moon BayStyle: Vocal JazzMusicians: Marty Williams (piano, vocals), Eric Swinderman(guitar), Ruth Davies (bass), Jon Evans (bass), Ranzel Merritt(drums)
With over 25 years of experience, Marty Williams is a recognized voice in the San Francisco Bay Area jazz scene. His soulful style is deeply rooted in the blues, sometimes venturing into a rock sound in songs like "Brother (where are you)", the Beatles "Come Together" and the funk feel of "Mercy, Mercy, Mercy".Even in the jazzier tracks, "Compared To What", "Falling in Love Again" and "Love For Sale", Williams voice maintains that bluesy quality to it. Williams voice and savvy, cool phrasing are infused with the soul of an experienced singer, at times similar to jazz greats like Louis Armstrong especially on his version of Burt Bacharach’s "The Look of Love".
As a pianist Williams is equally as good, his playing has been described as unique, bringing comparisons to piano legends like Thelonious Monk.  Williams use of harmonies and space on "Falling in Love Again" and "Love for Sale" certainly have some Monk influence.
All the arrangements are by Marty Williams. Some lean toward the blues, others, like "Monk's Dream" mixed fusion and straight ahead jazz but some are pure jazz like "On a Clear Day" and "Sweet and Lonely".Tracks: Brother (Where Are You), Caravan, Come Together, Compare to What, Falling in Love Again, Love for Sale, Mercy, Mercy, Mercy, Monk's Dream, On a Clear Day, Sunny, Sweet and Lovely, The Look of LoveArtist's Website: www.martywilliamsmusic.com


Marty Williams Continues to Chart at CMJ for 4 Weeks

Marty Williams Continues to Chart 
On the CMJ Jazz Chart for 4 Weeks
Long Time Comin' continues to Herald Acclaim


Marty Williams Continues to Chart at Jazzweek for 3 weeks

Marty Williams, Long Time Comin'
His Engaging Style and Honest Sensibilities
Are the Cornerstone To 
His Successful 
Debut CD 
 Williams Continues to Chart for 
3 weeks at Jazzweek


Marty Williams charts at CMJ, landing on the #9 slot!

Marty Williams, Long Time Comin'
Williams Skyrockets up the 
Chart to #9

I called this CD Long Time Comin’ because it has been…

My musical journey started on a snowy night, long ago and far away, listening to Ahmad Jamal’s album “Voices.” That album touched my soul, it spoke to me, called me to play, and set me off on the journey that has brought me to today. For as long as I can remember, my music has been at the center of my dreams and, at times, the core of my heartache. And since that snowy night, through all that life has had to offer, I have never been able to let go of my dream and my desire to create music that my listeners will love as much as I do.

So here, on Long Time Comin’ I offer you my own voices – on the piano I play and in the words that I sing. I offer you my interpretation of songs I love, songs that in many ways tell the story of my journey. I hope you enjoy this CD as much as I enjoyed making it…

and maybe even a little more.

Peace Always.


Marty Willilams moves up the Jazzweek Chart to #33

Pianist and vocalist Marty Williams
Long Time Comin'

Williams has found his voice in the fabric of jazz!


Marty Williams is reviewed by Cashbox Magazine

Marty Williams 
Long Time Comin'


A wise person once said, "Imitation is the sincerest form of flattery." A great cover album is another great way to pay respect. Marty Williams' latest album, "Long Time Comin'" is packed full of the best songs in music history, played by a student of the craft with respect for those who influenced his career.

Featuring standards from Cole Porter, Duke Ellington, and many others, the album reveals Williams' passion for a broad range of styles. Any great career spawns from being influenced by more than one style. It's a lot easier to develop your own style when you listen to all kinds of music. Marty Williams clearly had an open mind and an open ear for the greats, and the results shine through.

His cover of "Come Together" stands out as the album's best. His voice clearly wins in a battle with Joe Cocker's version, and his subtle changes to the backing sounds makes this one of the best Beatles covers I've heard in years.

Give your mind an easy time your next trip to the music store. Grab a copy of "Long Time Comin'" by Marty Williams. You already know the songs. Give a fan and student of the craft a chance to remind you how great they are.


Marty Williams is reviewed by Jazzscene

Review by; George Fendel
Long Time Comin', Marty Williams, piano, vocals.
If you're into late Lou Rawls or the vocals of Les McCann, Williams may float your boat. He plays acoustic piano throughout, his choice of tunes seems to run about 50-50 between pop/soul vehicles and jazz standards. 
From the soul bag, there's "Brother Where Are You," "Come Together," "Sunny," "Compared to What," "The Look of Love" and "Mercy, Mercy, Mercy." The examples of higher caliber writing include "Caravan," "Falling in Love Again," "Love for Sale," "Monk's Dream," "On a Clear Day" and "Sweet and Lovely." His singing voice, kinda like a gravelly Babs Gonzales.In Moon Bay Records, 2010, 71:54.Posted 2nd February 2011 by 


Marty Williams Moves Up the CMJ Jazz Chart to #31

Marty Williams Continues to Shine

Long Time Comin’ showcases his inviting style and incredible talent.


Marty Williams Debuts on the Jazzweek Chart at #35

Pianist and Vocalist Marty Williams
Makes His Distinctive Mark
Debuting on the Jazzweek Chart at #35


Marty Williams Debuts on the CMJ Jazz Chart at #36

Marty Williams May Have Been A
Long Time Comin'
But Radio Is Welcoming Him With Open Arms
Williams Charts His 2nd Week in Promotions 
 Debuting at #36 on the CMJ Jazz Chart


Marty Williams hits the Chartbound Chart at Jazzweek

Marty Williams hits the Chartbound Chart 
this week at Jazzweek.


Marty Williams Hits Three Charts His First Week in Promotions

Marty Williams Charts on 3 Jazzweek Charts
Marty Williams comes out of the gate with intensity, hitting the Most Added, Increased Airplay and Chartbound chart one week before his add date at radio.


Marty Williams and Roxy Coss are reviewed by Midwest Record

Review By: Chris Spector
Volume 34/Number 75

MARTY WILLIAMS/Long time Comin’:   If you aren’t from the Bay area where this cat holds forth to great acclaim, you may wonder what this album of covers is all about.  A soul singing piano man, he finds his footing in Curtis Mayfield’s early 70s vibe after leaving the Impressions when political and Paul Williams found their way to wax, side by side.  He’s a solid entertainer reminding you about the works of Oscar Brown, Zawinul, Duke, Les McCann as we


Marty Williams is Reviewed by This is Book's Music


REVIEW: Marty Williams’ “Long Time Comin’”Review By:  John Book

PhotobucketIf you’ve read any of my jazz reviews in the last 10 years, you’ll know that while I love jazz, I’m not too fond of vocal jazz. Some of it I like, but the one thing I hate about it is when a singer gets carried away with going overboard to prove that they are a jazz singer. After awhile I think damn, is this what every jazz singer wants to sound like?

Then there’s Marty Williams. As soon as he started singing in “Brother (Where Are You)”, I thought whoa, what’s going on here? This was someone who could really sing, or as someone will be proud to say, “sang”. There’s a certain charm in what he does and how he does it, and I found myself wanting to stop everything else and listen to this, which I did. Again and again.

Long Time Comin’ (In Moon Bay) may be titled with a bit of confidence, perhaps he’s saying that this is a jazz album even vocal jazz purists will say “whoa, now this is great”. This man could sing any genre with ease, and you’d want him to do that too but here, he is at home with jazz. Hearing him do “Compared To What”, “Mercy, Mercy, Mercy”, and “The Look Of Love” makes you wish he could do any song given to him so you can hear him do it in his own style. Yes, the man has style, not only in his singing but in his impressive piano playing too.

I don’t know, to get any more in-depth would be to avoid the solid point: Marty Williams is a very good musician and singer, regardless of genres and tags. Get this album, and then see him if he plays in your city. Encore, please.


Marty Williams Hits Three Charts His First Week in Promotions

Marty Williams Charts on 3 Jazzweek Charts


Pete Fallico of KCSM interviews Marty Williams on the Doodlin Lounge

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Puchase Music

Marty Williams: The Problem
Marty Williams: It
Marty Williams: The Last Stop
Marty Williams: The Fool On the Hill
Marty Williams: Weather Plan
Marty Williams: Dig This
Marty Williams: Long Time Comin
Marty Williams: The Complete Moon Bay Sessions (Diverse Vibrations in Hip Hop & Jazz)
Marty Williams: Hidden Treasures
Marty Williams: It