L.A. JAZZ SCENE….CD REVIEW Cathy Segal-Garcia “Secret Life” (Dash Hoffman Records)

Long a favorite of Los Angeles jazz audiences, singer Cathy Segal-Garcia has changed her approach for this latest album, revealing a “secret” love for popular music, which she folds seamlessly into jazz’s mainstream. Along with pianist Karen Hammack, double bassist Chris Symer and drummer Kendall Kay, she interprets a program of lyrical adventure – 9 out of 10 are her originals –with a rich, exotic flavor and convincing passion. Like Broadway theater numbers, each selection tells a story. Segal-Garcia gets serious and turns on the heart as she sets out to conquer. For most of the selections, she’s working with a chorus that echoes her sentiment and completes each thought. Nevertheless, the balance for this project swings into a filed apart from straight-ahead jazz and sensual ballads.

“Save Your Love (for Me)” and “20 Men Waiting” reveals ties to the rockin’ world of R&B, whereas “My Friend” and “My Russia” take on exotic, world-wise textures. “Miko Oiwake” stands out for its lyrical beauty, “God’s Grandest Theme” runs with a deep, inner blues fever, and “The Song” reveals a close kinship with folk music. The true spirit is there. “Secret Life” finds the singer at her best, doing what she has done successfully for years, telling a story through song, intimately, as if she were standing next to you, sharing a moment of warm sunshine together.

Jim Santella

JAZZ REVIEW L.A. Times 2/19/07 By Don Heckman, Critic OCTET SPANS THE SPECTRUM

An Octet in Jazz Language is a musical concept in progress, and a pretty intriguing one, at that.The premise is simple enough. Start with the unusual combination of players: four first rate jazz vocalists, Cathy Segal-Garcia, Cheryl Barnes, Stephanie Haynes and Sherry Williams.: add Michael C. Ford and the sterling trio of pianist Karen Hammack, bassist Chris Connor, and drummer Quentin Dennard-assemble a group of tunes-some familiar standards, some offbeat originals- interweave them with Ford's often sardonic poems and toss in some brisk improvising from the musicians.

The Octet's performance at Gianelli Square in Northridge on Saturday night provided a convincing indicator of the concept's potential, despite occasional glitches in the way it was delivered. The singers' styles ranged freely across the jazz spectrum, Barnes' impressive vocal range with it's warm, engaging coloration was well displayed in "Why Did I Choose You?", Haynes who always combines emotional intimacy with a heartbeat if swing was superb on "The Night Has A Thousand Eyes". Williams with a visual appearance of a young Ella Fitzgerald, imbued everything she sang with the soul of jazz. She was particularly impressive on a lyrical "Day by Day" and a laid back offbeat reading of "How High The Moon".

Segal-Garcia was at her best when emphasizing her dark-toned, middle range sound in a jazz take on Sting's "Fragile", but it was hard to understand why she rendered the floating melody and atmospheric lyrics of the classic "The Island" as a grooving swing tune. Ford's poetry(bearing titles such as "Madonna and Prince are invited aboard the Deathstar" sneaked in and out of songs, sometimes making spontaneous connections, sometimes contrasting in disconcerting fashion. The juxapositionn of "What Ever Happened to Hansel and Gretel, a contemporary variation on the Hansel and Gretel fairy tale, was one of the more startling examples).

But Ford's work possessed the quick rhythms and irreverent spontaneity of jazz, a perfect ingredient for this musical gumbo. Hammack understandably known as a superb accompanist for singers, led Conners and Denard in a demanding sequence of tunes, adjusting their backing for the special qualities of each vocalist.

If there were moments of which more rehearsals were clearly called for "The Octet in Jazz Language" nonetheless was an innovative approach to displaying the rich, varied language of jazz.

This commentary will appear in 'ALL ABOUT JAZZ" under his column with a few others under, 'When Lights Go Out'. ALL RIGHTS RESERVED (C) 2006 BY JOE LANZA

Jazz Lovers,

Saturday night at the VC was one experience I'm compelled to share with you, and maybe a better understanding and appreciation of Jazz Music will result.

JAZZ LADY OF L.A.

How do we define JAZZ? What I see and hear in clubs and hear on the radio sometimes defies defining. What the jazz FM spins as Jazz is often the cacophonous sounds of various musical instruments blowing unmelodious annoying hot air. To start with, music of any type needs a melodic line that the rest of the composition can expand on. Without the melodic line, the auditor has no way of following the musical fantasy, the vicarious experience evaporates just as it evaporates in a story with a weak contradicting plot or a no-plot story. Without melody, which is the heart and soul of a composition, then the horn tooting and the key banging is a symphonic cacophony, and for some who enjoy pure instrumental sounds for their thick ear drums that seems to be OK, but let us not call non-melodic compositions Jazz or music! So how do we begin to define a true Jazz singer? I found the answer last Night at the Vintage Cafe' dubbed by Cath Garcia Segal as, "this room is a hidden treasure!". I had heard about this entrepreneur/singer/vocal coach for over a year but last night, Cath's performance to a full house at the VC gave me the definitive definition of a Jazz Singer. With only guitarist Jeff Richman accompanying her, Cath filled in the rest of the missing instruments with her melodious vocalizations ranging the gamut of human sounds in harmony and in contrapuntal variations, turning a duo into a symphonic orchestra. Her lyrics became elongated melodious euphonies and always with the rich tone and quality that pleases the brain. After the performance I asked Cath, as a vocal coach, what she looked for in a singer? And her critique was that, 'I don't like most singers. They don't have the feeling of honesty in their delivery; they lack a good tone and sing with an unnatural voice, it's a type of falsetto.' And having listened to Cath's three hour performance at the VC, I was charmed by her comfortable unhurried delivery without all the superficial physical animated choreography that other singer's sorrily demonstrate; Cath just sat and sent out her Loralie sounds that lured this mate onto the rocky shore of mesmerized submission... I'm coming back. Uncle Joe

L.A. Jazz Scene
July 2005

Cathy Segal-Garcia & Ross Tompkins
Heart to Heart

It takes a rare and dedicated artist to work in duo, since there’s nowhere to hide. It’s just you and your musical partner, baring your souls to the world out of a deep love for the music and an intense desire to share it with someone. Vocalist Cathy Segal-Garcia and pianist Ross Tompkins have shared with local audiences for decades in intimate settings where they’ve gotten to know us as thoroughly as we’ve come to appreciate their love for good music. Heartfelt songs such as “Skylark,” “Someone to Watch Over Me,” “My Old Flame” and “More Than You Know” bring a tear to your eye as the duo interprets from a personal viewpoint.

Segal-Garcia approaches each selection slowly with emotions bared. You can’t rush some things. In order to express these songs appropriately, she uses every ounce of her life’s blood. Tompkins, on the other hand, likes to reach out on occasion and liven things up with a smile. His contrasting solos give the album a considerable balance. As they perform together, the duo forms a spiritual alliance that results in torches being burned down to the bottom, until there’s nothing left to say.

Jackie Gleason’s “Melancholy Serenade” summarizes the performance, since the program paints each selection as a melancholy ballad with obvious emotion. Unlike the characteristic way that Gleason used his television theme song to showcase ironic with and extravagant comedy, Segal-Garcia and Tompkins interpret it slowly with waves that dampen the song’s luster.

“Exactly Like You,” unlike the rest of her program, represents the center of Segal-Garcia’s musical arena. On this interpretation, she uses her familiar musical approach to swing a little, move casually through a wide vocal range, and shape each phrase colorfully with precision. Accents introduce a familiar jazz force to her performance that highlights an otherwise slow and spiritual message. The duo’s gift to their audience is filled with love, and presented slowly with deep feelings that are worn on their shirtsleeves.

Jim Santella

MARCH ISSUE OF LA JAZZ SCENE
CATHY SEGAL-GARCIA’S WEDNESDAY NIGHT JAZZ JAM

At Sportsman’s Lodge Cathy Segal Garcia has been running the Wednesday Night jam session at Sportsman’s Lodge in Studio City for more than four years. This is not an easy task considering the army of musicians and singers and want to be musicians and singers that show up. Based on their ability she knows how long to keep the performers on stage and when she has to step in and sing a song or two herself. She knows she still has to please the audience and most are there to hear her sing. The night I was there the “house” trio consisted of Eddie Olivieri who has been with Segal–Garcia since she started at Sportsman’s, Gary Pratt on bass and Joe Correro on drums. They do a marvelous job of backing the infinite variety of performers and abilities. Obscure tunes, vocalists with charts, the pros and the amateurs, the unprepared, all keys and all tempos is the order of the day and Segal-Garcia can handle it all.

Before the jam started Segal-Garcia sang three songs with the trio. She opened with a medium tempo version of “My Heart Stood Still”. She sang the precise melody, followed by improvising on the chords using the songs lyrics, followed by a couple of choruses of scat. This was an example of her pure sound, intonation and imaginative jazz choruses that the audience came to hear. The next tune was a bossa nova version of “Someone to Watch Over Me” followed by an up tempo version of “The Song is You". Later in the set Segal sang an up tempo version of “I Love You”. Olivieri had ample solo room, showing off his dazzling technique as did Pratt with several inspiring bass solos. The usual “fours” featured talented Correro on drums. As you can see by her selection of tunes, Segal-Garcia does not take the easy way out. She features quality standards that have “character”, for lack of a better word. She also sang an unusual arrangement of “Send In The Clowns”. The haunting vamp in the beginning set the mood for this slow “four”, instead of the usual triplet feel, arrangement of this "A Little Night Music" standard.

The Wednesday night performers included Alexi Zubov, on tenor sax, Guy Mack on trumpet, Charles Howell, Hal Asher and yours truly on drums. Vocalists included Ann Mack singing “The Gypsy”, Lynn Garrett performing “He’s Funny That Way” and Les Barrett’s interpretation of Cole Porter’s “It’s All Right With Me”. Billi Redd sang a Latin version of “Teach Me Tonight” reminiscent of the DeCastro Sisters arrangement of the 50’s. One of Segal-Garcia’s students 12 year old Ashley Stetson sang “Blue Skies”. At this young age she was developing her own style by the way she was bending her notes. She did need a little help from Segal-Garcia on the big ending, but this was another example of “expecting the unexpected” at these types of events. The jam session is fun and entertaining and gives a few performers A chance to show their talents, but the main attraction here is Segal-Garcia. She has earned her reputation as a singer’s singer here in Los Angeles, performing with many of the city’s greats and at all the jazz venues. The full house audience with many singers in attendance was substantiation of this.

For more information about Segal-Garcia’s upcoming performances, workshops, seminars and private lessons, go to her website at www.cathysegalgarcia.com/

Ken Jennings

EARTH TONES

CATHY SEGAL-GARCIA PROVIDES MUSIC TO MAKE CHEFS SING

The first time I saw jazz singer Cathy Segal-Garcia perform (at the time, she was pre-Garcia), she was at a small Hollywood neighborhood bistro, Two Dollar Bill’s. The Boston-born vocalist had held the room enthralled, and I was hooked.

Saturday night, the singer will provide the entertainment at the 41st Annual Star Chef’s Event, benefiting Pasadena-based Rosemary Children’s Services, at Santa Anita Park in Arcadia. It will feature cuisine from 22 area restaurants, as well as an auction. Denis Depoitre, executive chef at the Ritz Carlton Huntington Hotel, will be honored with the Golden Star Award.

“That was a cool time back then, wasn’t it?,” the vocalist said over the phone from her Granada Hills home. “There were lots of little places – Two Dollar Bill’s, the Comeback Inn, the Sound Room and others –all offering original jazz. Since then, sometimes there have been virtually no rooms, but right now, I think there is a return to that kind of scene, more places popping up.

“That’s one of the things I push my students to do, to start up rooms (to play at) – go into a restaurant and talk to the manager, and see what happens, spread it around. You can’t just start off by going into a Jazz Bakery or Catalina’s and play.”

Segal-Garcia has been an in-demand vocal teacher as well as a performer and recording artist since those early days, something the Berklee-trained musician blames on her mother.

“She would go from project to project, let’s do this, let’s do that, often at the same time,” she said with a laugh. “I’ve got several hundred students who at one time or another come by for a session, but I’ve never been one to force people to come for a steady string, unless that’s what they want. It all varies, but it keeps me busy.”

She also follows her own advice. Three years ago, she approached the venerable Sportsman’s Lodge in Studio City about the possibility of doing some live music there, and since then, she has hosted a weekly jazz jam session on Wednesday nights.

You never know who will drop by. A few weeks ago Rick James got up and sang “My Funny Valentine” She is now talking with the Universal Hilton about doing something and she will be doing a couple of gigs in July at Holly Street Bar and Grill in Pasadena.

This past Memorial Day, Segal-Garcia performed at Playboy Jazz at Brookside Park in Pasadena, and she was pleased with the way it turned out.

“Even though there weren’t as many people there as there were later in the day, it was still great, and it was fun walking around and seeing everything. I’ve been to Japan and Europe a lot over the years, and have done many festivals there, and even did one in Argentina, but this was the first time I’ve done one here at home,” she said.

Recently, the singer had the opportunity to tour the facilities of Rosemary Children’s Services, and she came away impressed with what she found there.

“It was started back in 1920 by these rich Pasadena women who wanted to do something for their community, and now there is this safe haven for at-risk teenage girls,” she said. “What is cool is that they use this system of justice within the facility where the girls watch out for each other, and they have to take responsibility for their own actions. They get some government funding, but most of it comes from donations, and that’s why this event is so important.”

Over the years, Segal-Garcia has released five CDs, each one different from the other.

“Looking back at my own work, I’ve noticed that whereas some people follow an orderly path, my directions have been a bit varied,” she explained. “The first album in 1985 was kind of new agey, then I did this modern jazz trio recording with pianist Phillip Strange, bassist Marc Johnson and drummer Peter Erskine. The next two were duet sessions recorded during the same week, with two different pianists, Phillip and Ross Tompkins, and each was totally different. Now I’ve got this new one, ‘Secret Life,’ which is original pop-like material, kind of alternative jazz.”

She said she doesn’t need a huge hit, but would like the albums to be respected by her peers.

“I’m happy, even though it seems lately that I’ve been pouring the coals on the fire. And I always get to play with a rich variety of people, so it is always different. You learn who is good at doing what, and you just go in that direction.”

Paul Andersen is a free-lance writer in California. June 11, 2004 San Gabriel Valley Newspapers.

Girl Vocalists Come In Threes at Michael D’s
by Bob Agnew … May 2003

Led by the well-established singer, Cathy Segal-Garcia, Michael D’s Santa Rosa Café & Jazz Club recently presented a bevy of girl vocalists in its weekend jazz spotlight. In on a Friday night was Segal-Garcia, accompanied by some of L.A.’s best players in the person of guitarist John Chiodini, bassist John Gianelli and drummer Enzo Tedesco.…

It has been years since Cathy Segal-Garcia surfaced in Los Angeles from Boston, a time when she networked, paid her dues, worked all the clubs, composed, recorded, taught voice and performed abroad. All that experience is reflected in her stage presence, her camaraderie with the musicians and the repertoire from her book for a show such as her evening at Michael D’s. Again, good musicians create the musical ambiance for an artist and the ensemble and solo work of guitarist John Chiodini, bassist John Gianelli and drummer Enzo Tedesco provided just the right backing for Segal-Garcia.

She showed her composing skills off nicely with a song she wrote in tribute to guitarist Jim Hall after an appearance he made a t McCabe’s in L.A., and it is titled simply, "Mr. Hall." Then there was "Bahia," her collaborative effort with Gus Garcia, and an upbeat, tricky ditty, which she wrote and dedicated to her niece and called, "Diane." Of course, there also were the usual standards, some of which were "Sunday," an upbeat "Invitation" and "Embraceable You," plus memorable versions of Clare Fischer’s "Pensitiva" and Benny Golson’s "I Remember Clifford." These alone would have made the evening worthwhile, and overall, it was an entertaining one, indeed.

"In Control: Jazz singer Cathy Segal-Garcia's style leans toward heavily melodic vehicles that show off her flowing, at-ease, rhythmic sense...A voice that's soft and warm as cashmere."
Zan Stewart, Los Angeles Times

"If you closed your eyes you might think she was a highly evolved horn player..."
Larry Koonse

"Even without seeing her, you know that this voice cannot be owned by a blonde...This is a deep, rich, ballsy voice, washed in browns, blues, and other earth tones."
Paul Anderson, Jazzline

The Sportsmen's Lodge in Studio City now is proving to be a snug harbor for some of the town's better jazz sounds, what with the Cathy Segal-Garcia Jazz Jam Session on Wednesday nights, and the Jack Ranelli Big Band every Sunday night. Our story on the Ranelli band can be found elsewhere in this issue, but here, right now, it's the pretty and petite Cathy Segal-Garcia whom we will focus on. By the way, Ms. Garcia is a newly wed, having recently married nice guy Gary Hoffman, the NBC Tonight Show lighting director.

Working in the lodge's Muddy Moose Lounge, Garcia has her regular trio of very competent musicians who are: Eddy Olivieri at the keyboards, Harvey Newmark at the bass, and Jack LeCompte at the drums. They provide the basic music for the Wednesday evening jams, with numerous musicians dropping in to exercise their chops. Of course, over and beyond the players, there are the singers, mostly ladies, who come in to do their bit, too.

On the evening we were there, Segal opened the proceedings with "I'm Old Fashioned" and followed with "Skylark," which included some scatting and improvising on the song's melody. All handled with finesse, Segal has a fine voice, and can adapt it to teary-eyed ballads, as well as upbeat, scatting jazz. Her twenty years of performing stand her in good stead when she is on stage, where she is perfectly relaxed and enjoying herself, which translates into audience enjoyment, as well.

Among the many drop-ins were guitarist Doug MacDonald, vocalist Jimmer Bolden who sang "I'm Beginning to See The Light," saxophonist Howard Serguson, bassist Louis Shoch, who also sang a lusty "Yes sir, That's My Baby;" Chris Conner, a bassist from San Diego, vocalists Tami Bahat, Cath Eckert, Terry Hill and guitarist Wataru Usami. Then there was Pat Livingston with an excellent "Fly Me To The Moon," and trumpeter Rafeeq Abdul, tenor sax player Clarence Webb and Rosetta Appling, vocalist and vibe player, who just moved in from Atlanta.

We have only named a few of the many who were there, there because they love to play and sing jazz. The Sportsmen's Lodge, their present haven for jazz, deserves praise for booking Ms. Garcia and her trio to headline this weekly jam session and open the door for the many who want to show their stuff.

A Sweet Collaboration of Singer, Pianist

Fans of jazz singing will find no better place to satisfy their musical cravings than Ca Del Sole Ristorante in North Hollywood. The restaurant’s intimate performance room programs singers seven nights a week (with an occasional instrumental evening thrown in for variety) featuring such talented local artists as Julie Kelly, Stephanie Haynes, Sandra Booker and others.

On Saturday night, singer Cathy Segal-Garcia was in the spotlight, accompanied by the first-rate jazz piano playing of Shelly Berg. And the contrast between the two was a fascinating example of the fashion in which jazz artists can mold and adjust their styles to the demands of different settings.

Segal-Garcia’s most compelling quality is a warm, dark sound, luxurious enough to wrap a song in an envelope of lush timbres. And on standards such as “For All We Know,” “When Sunny Gets Blue” and “I’ll Be Around,” she did just that. At her best when she illuminated melodies with her sound, she delivered renderings that brought both the themes and the lyrics to life.

Berg was a solid accompanist, laying down especially attractive harmonic textures, on the ballads. In his solo passages, however, he quickly abandoned the chordal based qualities of this backup work in favor of rapid, often double-timed soloing. He can be an imaginative improviser.

There was no denying the pleasure of hearing two talented artists finding common musical ground, and doing so in an intimate setting one that allowed a roomful of responsive listeners to share the music, up close and personal.

Don Heckman, L.A.Times

"I have a thing about really loud music: I don't like it, period. So when I go out, I often look for places where the sounds are soft, where you reach out to the music, so to speak, instead of the other way around. That's one of the reasons I've long been a fan of duos, either a singer or an instrumentalist with a rhythm instrument: a guitar, piano or bass. The music is fairly quite and accessible, and there's a charming sense of chance-taking that goes on."

Another duo fan is Cathy Segal-Garcia. She is the vibrant jazz singer who works each Friday and Saturday in the cozy lounge at Ca del Sole in North Hollywood, and each Wednesday and Thursday in a similar room at the Smokehouse, right across the street form the Burbank studios. Her album, "Song of the Heart," is available at local record stores.

"Duos are loose. You can change at will, go," said Segal-Garcia, who has been heard steadily in Los Angeles jazz rooms for many years. "But they're a challenge. You really have to be awake; you don't have a whole band carrying you."

Segal-Garcia, is a native of Newton, Mass., but lives in North Hollywood, not too far from either of her regular gigs. She talked about Ca del Sole, where the house pianist is Marty Harris, the silver-hairdo veteran of the Woody Herman band and other top ensembles. "The lounge is very intimate and comfortable," she said. "And Marty's such a character. He'll stop and talk to the people, so we'll have conversations just like we're in someone's living room."

The music that Segal-Garcia and Harris offer is ideal for the soft ambiance of the eatery's lounge: great pop standards and classic jazz songs, from "Night and Day" to "Detour Ahead". The singer really likes these kinds of tunes, and when asked during the interview to explain why, she stopped to think before answering. "The most important thing is their message, through the words and the music. They're really great vehicles to interpret your own feelings through," she said.

Nearby, at the Smokehouse, Segal-Garcia carries on a bit differently. There she works with pianist Karen Hammack, a longtime associate. "Karen's rhythm matches mine and she's really good for a singer because she listens and responds." The music ranges from standards to a few originals and even some 60's R&B. "It's a funny room that seats about 50, and we work a long show, from 5 to 10:30 PM," she said. "A good part of the crowd is from the studios and they come in early for happy hour, and to relax after work. But some people really listen attentively. Still, on the way out, a lot of people will tell us we were fabulous or put something in the tip jar, and we know they were listening."

"Los Angeles is blessed with many fine jazz vocalists of its own. Cathy Segal-Garcia, who recently appeared at Chadneys, always takes chances in her singing. Closely interacting with guitarist Larry Koonse, bassist Joel Hamilton and drummer Dave Parker, Garcia displayed a soft and lovely voice that was subtle but flexible enough to come up with new ways to sing such songs as "Cheek To Cheek," "Darn That Dream," and "You Are Too Beautiful," often playing with time quite effectively. Although she appears frequently in local clubs, her talents should not be taken for granted!"

"Performance: Cathy Segal-Garcia, who appears Sunday at El Matador, has an at-ease rhythmic sense and soothing voice." "In Control: Jazz singer Cathy Segal-Garcia's style leans toward heavily melodic vehicles that show off her flowing, at-ease rhythmic sense."

Most jazz singers name other singers as their idols. Cathy Segal-Garcia names a trumpeter: Miles Davis. "I like to sing with a controlled voice. I don't like belting." she said. "Miles didn't belt out very much. His playing was more of a color, a feeling, a sensation."

Segal-Garcia said she tries to instill the subtle qualities that imbued Davis' best work in her jazz vocalizing. "There's a fineness in my work, and by that I don't mean a quality of my voice, but more of an aesthetic," Segal-Garcia, 37, said in a recent phone interview from the home in North Hollywood she shares with her husband, guitarist-songwriter Gus Garcia.

"This is hard to explain," she continued, "but I feel like there's a flow that comes out of me and the flow is fine-tuned. Performing is just a reflection of who I am - as a person, and I like to think that flow is in me all the time. When people tell me how I come across, they talk about that quality."

The Boston native has a soothing alto voice, and an at-ease rhythmic sense that seems ideally suited for the heavily melodic vehicles she chooses, from standard such as Jerome Kern's "Dearly Beloved" to her own "The Story", a perky, contemporary number. "My style is definitely jazz, with a modern slant," said Segal-Garcia. "By modern, I don't mean 'fusion,' but more the Latin-pop-jazz mode of such pieces as "500 Miles High" and "Spain" that Chick Corea wrote for the early '70s group, Return to Forever, which featured vocalist Flora Purim.

These days, Segal-Garcia has a jazz career that's motoring right along. Last year, she spent three months in Europe, a month in Japan and worked three to four nights a week when she was home in Southern California. This year, she's been a regular at Loews Santa Monica Beach Hotel in Santa Monica. She appears Sunday at El Matador in Huntington Beach with pianist Karen Hammack, bassist Luther Hughes and drummer Mark Pulice.

Occasionally she takes an R&B job, and admitted that in those situations she gets to let loose more. "I like to shout. Hey, Aretha Franklin and Chaka Khan were some of the people I listened to when I was younger." she said. "I mostly sing that style (during) one -nighters at parties or functions."

Segal-Garcia said she has a dream of putting together a band that mixes R & B with jazz, but that hasn't happened yet. One reason is simple practicality. "My life seems to swing to jazz. Ninety-five percent of the work calls I get are for jazz jobs," she said. But she and Hammack have discussed forming a vocal-instrumental band that's patterned on Weather Report, the popular jazz-fusion ensemble of the '70s and '80s.

Hammack and Segal-Garcia are one of those hand-in glove fits, the singer said. "our rhythmic sense is similar, she accompanies wonderfully, she can swing so hard she raises the hair off the back of my neck, and she can totally sensitive. That's the ideal scene," she said.

Segal-Garcia is one of those people who, as a child, never asked the question, "What am I going to do when I grow up? I've always sung," she said. "I can remember when I was 7 and my father, who was a saxophonist, was painting the living room and I was sort of helping him while I sang along to a record by Ella FItzgerald...Beginning when I was 12, my twin sisters, who are four years older, and I used to sing on my father's gigs."

But there have been periods when Segal-Garcia was not nearly so confident about where her career was heading, or why she was singing. Take the time in 1972 when she was 18, attending the Berklee College of Music in Boston, and was concentrating so heavily on her composing and arranging studies that she had all but given up singing. "I kind of lost my feeling for it," she said. But when she put together a trio at school (which included the now famous Quincy Jones' drummer John Robinson) and sang mostly for fun, she found her calling hadn't been lost. "I got the magic going again and realized I would be a singer no matter how much time I took off, that I was capable of it," she said.

Then, in 1979, after she'd moved to Los Angeles and married Garcia, she had to cross another bridge. Her performances were imbued with such influences as Fitzgerald and Chaka Khan, but not enough of herself. "I was set to do a job...in Studio City and Gus said to me, 'Why don't you drop all your favorite licks?'" Segal-Garcia recalled. "I tried it, feeling like I had my pants down, but when I did it, 'me' came out. It was the best advice I've ever gotten."

Her first job in Los Angeles, in 1976, was with the ledgendary guitarist Ted Greene. After putting up about four posters around town, she arrived for their first job together at The Sound Room in Studio City, only to find a capacity crowd with no standing room left! They continued to work together for a year and a half. Segal-Garcia spent most of the 80s doing small-room jazz jobs in and around Los Angels, from Donte's to Two Dollar Bills, though she had some stellar accompanists, including pianists David Benoit and Russell Ferrante. She has yet to make an album, but a Japanese production company has plans to record her this summer.

One thing she noticed as a child was that she like the effect her singing had on people. It's the same situation today. "In performance, it seems I give to the crowd, and they give back to me. That's the best kind of reward in life," she said.

"It's not that Cathy Segal-Garcia doesn't like living in Southern California, it's that she relishes getting out of town, especially abroad.

'I love traveling,' says the jazz singer who just got back from a productive trip to Europe. 'I don't want to be on the road 12 months a year, but I do enjoy going to other countries, especially when the money is decent, you're making good music and being acknowledged.'

In Europe, wher the Boston native has traveled five times in as many years, Segal-Garcia both performs and teaches clinics. During the last trip, she worked in Nuremberg, Germany; in Nancy, France; and Oviedo, Spain, a coastal town on the Atlantic Ocean.

In these situations, where she worked with pianist Phil Strange, Segal-Garcia says she finds herself growing as an artist more than if she were regularly appearing in Los Angeles, and she is receiving more recognition.

'I'm freer to experiment and make mistakes,' says the singer, who appears tonight at Lunaria in West Los Angeles and Friday at J.P.'s Lounge in Burbank.

'If Phil and I are in a little town in Spain, we can be adventurous. That's more limited here because you want to impress your colleagues. And in Europe, or Japan, where I've been 15 times, people feel you're really special, which helps your self-acceptance, whereas here, audiences tend to be more complacent.'

Segal-Garcia is a versatile artist who infuses her renditions with the spirit of exploration, making her numbers unique. 'I sing in a modern jazz style, like not always singing the melody, or singing over a bar line,' she says. 'That style is fascinating, fun, artistic...'"

"There's more jazz than meets the eye around the Southland these days. A good example is singer Cathy Segal-Garcia's work at Glendales pleasantly intimate Drake's Restaurant.

Segal-Garcia's opening set Saturday night was a model of warm, exquisitely focused jazz vocalizing. Working only with pianist Dick Shreve, she sang a program of standards and originals with a deceptively low-keyed intensity that was sometimes dramatically reminiscent of the best work of Irene Kral.

Ballads like "Polka Dota and Moonbeams," "You Are Too Beautiful" and an original, "Everlasting," were performed in a pure, direct fashion that both showcased Segal-Garcia's dark contralto voice and illuminated her impressive capacity for harmonic variations...

...Her best work surfaced on an original samba titled "Bahia," in a rendition that perfectly blended her sensuous voice and cool harmonies with a floating but propulsive rhythmic feeling."