Marsha Bartenetti: Love Will Save The Day

Post author:Mary Bogue
Post published:May 27, 2025
Reading time:3 mins read

Marsha Bartenetti

Love Will Save The Day

Catalina Jazz Club, Los Angeles, CA, May 22, 2025

Reviewed by Mary Bogue

It was an evening of grace and resonance. When the night calls for elegance, jazz, and heartfelt cabaret, Los Angeles audiences know to turn to Marsha Bartenetti. Her show Love Will Save the Day was a shining example of why she remains one of LA’s most beloved vocalists. Accompanied by a world-class band and guided by the golden thread of grace, Bartenetti delivered a performance that was both musically masterful and emotionally stirring.

The show opened with the electrifying “Orange Colored Sky” (Milton Delugg/Willie Stein), in which Bartenetti’s nimble timing and control met the song’s vibrant energy head-on. It was an opening that instantly commanded the room, setting the tone for a night rich in variety and vocal finesse. She seamlessly shifted gears with “Them There Eyes” (Maceo Pinkard/Doris Tauber/William Tracey), a sultry nod to the 1930s made famous by Billie Holiday. Here, she let her inner vixen shine—a playful, knowing presence that felt completely natural.

She then moved forward in time to deliver a powerful rendition of Sting’s 1987 classic “Fragile,” accompanied by guitarist Dori Amarillio’s delicate playing and the band’s lush background vocals that enriched the moment. With Steve Rawlins as music director on piano, Rocky Davis on digital keyboard, Robert Kyle on saxophone, Jennifer Latham on bass, and Gordon Peeke on drums, her band provided the kind of musical sensitivity that elevated every note. The lyric “That nothing comes from violence and nothing ever could” seemed achingly timely, a reminder of both the power and the fragility of the human spirit. This poignant performance, also featured on her CD I Believe in Love, anchored the show’s emotional core.

Bartenetti then showed her vocal versatility with the spirited “I’m a Woman” (Jerry Lieber/Mike Stoller), that segued easily into the smoldering “Why Don’t You Do Right” (Joe McCoy/Peggy Lee). Her phrasing—always confident, sassy, and playful—brought new life to these well-loved standards. She followed with a soaring take on Burt Bacharach and Hal David’s “Anyone Who Has a Heart,” which showcased her ability to navigate complex emotional terrain while keeping her audience utterly engaged.

A special highlight came when guest vocalist Gino Gaudio came on stage to deliver a heartfelt, Italian-language rendition of “Come Back to Sorrento” (Ernesto deCurtis/Giambattista DeCurtis), that offered a moment of cultural depth and nostalgic beauty.

Bartenetti’s jazz chops were further evident in “I Could Get Used to This,” the clever and catchy lyrics by Mark Winkler set to Wes Montgomery’s classic “Bumpin’.” It was one of the night’s swinging standouts.

In the show’s final act, Bartenetti connected past and present by singing along with a video to the Kansas classic “Dust in the Wind” (Kerry Livgren), followed by a moving performance of Leonard Cohen’s “Hallelujah.” She closed the show with Abbey Lincoln’s “Throw It Away,” which earned a standing ovation. It was a fitting end to a night that reminded everyone in attendance that love—through music—really can see you through.

Marsha Bartenetti is more than a vocalist. She is a storyteller, a time-traveler, and a gracious hostess of the vulnerable heart. Her voice lingers long after the final note and invites you to revisit her recordings and relive the warmth she so effortlessly brings to the stage.

Tags: Milton DeLugg, ASA, Love Will Save the Day, American Songbook Association, Kansas, Fragile, Gordon Peeke, Robert Kyle, Jerry Lieber, Italian, Willie Stein, Why Don’t You Do Right, Dori Amarillio, I’m a Woman, Doris Tauber, I Believe in Love, Orange Colored Sky, Throw It Away, Piano, Maceo Pinkard, Jennifer Latham, Saban, Bumpin, I Could Get Used to This, Giambattista DeCurtis, Ernesto deCurtis, Come Back to Sorrento, Gino Gaudio, Anyone Who Has a Heart, Joe McCoy, composer, Rocky Davis, Kerry Livgren, Dust in the Wind, keyboard, saxophone, Music Director, drums, Bass, William Tracey, Nightclubs, Mark Winkler, Sting, American Songbook, Peggy Lee, Hal David, Burt Bacharach, Abbey Lincoln, Mary Bogue, Clubs, Broadway Musicals, Billie Holiday, Cabaret, Broadway, Great American Songbook, California, Catalina Jazz Club, Cabaret Scenes, Leonard Cohen, Marsha Bartenetti, Them There Eyes, Hallelujah, CD Reviews, Cabaret Reviews, Los Angeles, Wes Montgomery, Singer, CD, Vocalists, Mike Stoller, songwriter, Steve Rawlins, Guitarist, Lyricist, Musicals

Mary Bogue

Mary Bogue’s journey into the world of jazz began in 1981 when she was accepted by the Monterey Jazz Festival to cover the event as a writer. It was there that jazz tenor saxophonist Buddy Tate introduced her to the legendary vocalist Helen Humes. Their interview, later published in Jazz Dispatch and distributed at the Playboy Jazz Festival, marked the beginning of Bogue’s deep connection to jazz and storytelling. One unforgettable moment came when Humes introduced her to Count Basie, saying, “Bill, this is my friend Mary. Mary, this is Bill.” That simple introduction sparked a lifelong love for jazz and a passion for writing. Among her early interviews was a conversation with the legendary Les McCann, a connection that would come full circle years later when McCann joined Bogue on her debut album, Don’t Go to Strangers, released in 2012. The album, celebrated with a launch party hosted by KJZZ, gained national airplay and recognition. Her follow-up albums, Blue Smoke and One Night of Sin, further solidified her place in the jazz world. In 2015, Bogue was honored as a Living Legend of Jazz and recognized by the Duke Ellington Society, the United States Congress, the State of California, and the City of Los Angeles. Her cabaret career took off at the iconic Gardenia in Hollywood and continued in New York at the Metropolitan Room. That same year, she joined Cabaret Scenes Magazine as a reviewer of both cabaret shows and CDs, continuing to champion jazz and cabaret through both performance and the written word. In addition to her accomplishments in music and journalism, Mary is also an accomplished visual artist. She has designed album covers and created a wide range of artwork, including oil paintings of blues singers and expressive watercolors. Her visual work, much like her music, reflects her deep passion for the soul and spirit of jazz and blues.