Jazz flows through the landmark Townhouse in the Hamilton Heights section of Harlem. Feet tap, bodies sway and taste buds are sated. The world outside that space becomes muted, the worries turned into possibilities. No, this is not a rent party like those of yesteryear, rather it's just another day at the home of jazz vocalist Gregory Generet whose new CD, (re) generet-ion is finding its way outside of those storied walls and into the hands and ears of jazz enthusiasts everywhere.
   "For anyone who is a singer the ultimate goal is to be able to stand before people and be the storyteller of each song," says Generet "It's not an easy thing to do. You can get so wrapped into the music or the beats or rhythms or even your own voice, that you lose the story."
   With his first offering, these eight songs show that he is the perfect narrator of some of the finest stories of our time.
   Taking on the theme of romance, Generet has re-imagined the term "Standard" by adding his own vocal flexibility and appreciation for the clarity that is innate to jazz aficionados.
   During the gestation period before laying down the tracks for (re) generet-ion, Generet (also affectionately known as 'Monsieur"), put together a list of songs that he'd performed in sets with musicians such as Mike Renzi, Eric Reed and Onaje Allan Gumbs, among others, culling his taste for the international reach that music and romance demand. But when it came time to hit the studio, he decided on songs that he'd not previously performed - except that of Moondance - wanting to not only sing jazz, but to become it in its truest sense. "It was a challenge to step outside of my comfort zone," he says, taking on the task of broadening his musical passport, putting his on stamp on it along the way.
   "There's not enough storytelling going on for us anymore. That used to be a right of passage from older to younger, the sharing of a life. I never got that but I got it from music."
   That has become quite evident with (re) generet-ion.
   Angel Eyes "captures the notion of sitting in a bar after having broken up with someone, but you weren't the cause of the breakup." Generet takes his time with the Matt Dennis and Earl Brent tune. It's a reflection of the hurt one feels at the lost, combined with that moment when one knows it's time to move on. His voice has a cinematic appeal, where the listener can close their eyes and remember that moment when what was led to what is, and the slightest of smiles appear.
   Enamored with Brazilian music, Rio de Janeiro Blues was a perfect selection, which brings to mind the Joe Sample/Randy Crawford rendition. In Generet's hands, Rio provides a way to do what can be considered a sad song of love and loss, without being maudlin. Rio serves as the backdrop, its heat the impetus.
   Co-written by the dynamic Alan and Marilyn Bergman and Michel Legrand, Once You've Been in Love, expands on his love of the sounds of Brazil, yet brings it closer to home. "I believe in romance and still spend time having a courtship with my wife," Generet says of Tony-award winning actress, Tamara Tunie. "It's that idea of once you've been with someone more emotionally giving than anyone before and you never want to lose that." This interpretation reminds us of a slow dance, a firm hand at the small of the back, together, yet alone, in a crowded room.
   It is easy to overlook the magical lyrics of Van Morrison's Moondance, a tune whose rhythm of tone can easily steal focus. To rectify that situation Generet begins this pop classic acappella with a control that demands the attention of the listener. With the help of jazz pianist and producer, Onaje Allan Gumbs, they were able to come up with something with a more "jazz flavor rather than just an influence."
   Melody is crucial when tackling the My Fair Lady classic, I've Grown Accustomed to Her Face. Fascinated by the lyrics, Generet wanted to put his own touch on them, interpreting it in a different way, yet being true to the melody, which in lesser hands would prove difficult. Again, with the mantra "Don't sing Jazz, just tell the story and let the band play the jazz." The combination of his velvet voice with that of the tenor sax of Rodger Byam proves more than successful.
   One of the most covered songs in the Jazz repertory, Caravan has had many incarnations. However, influenced by Juan Tizol and The Duke Ellington Band, the feel of North Africa resonates. It's that notion of a day's journey and the rest that comes by night. What presents itself is a unique view of what became a sensation for the great Billy Eckstein.
   The term "original" applies to (re) generet-ion. It takes us back to the Blue Note days when the heart and soul poured from voices and instruments. When Jazz was more than a noun, but an adjective and action verb, making for a titillating sentence. "It's about taking something that is and giving it a new life," says Generet. "It's taking a turn on a different path and this music has helped to influence that path for me."
   It is often said that many Jazz greats were born before their time, but in Thirty-eight minutes of musical pleasure, Gregory Generet shows that the time for Jazz was and will always be a representation of the memory of moments, when the magical sensation of happenstance nestles in one's stomach as creation occurs. He has combined old school flair with modern sensibilities, simply saying, these stories still exist. With aplomb and stylistic prowess, he is making certain that they continue to do so.
   (re) generet-ion succeeds in assuring us that time does not define us, we define time, the songs, and the stories within them, like the soul, live on.