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Jamie Broumas: Press

“…one of Washington’s best – kept secrets…Her voice has such a supple, hornlike quality, that glides from sultry chest tones to gossamer highs.”
The Washington Post
“…One of the city’s true jazz singers.”
Washingtonian Magazine
“…a gifted musician… always challenges the boundaries of the jazz singer label.”
Cadence Magazine
"...Last night's thriling moments were always slow and deliberate--Jamie's gentle triplets in "Come Fly with Me," Michael Bowie's syncopated double-stops, Keyes' slow-mounting solo in "What Are You Doing The Rest of Your Life?" Their motion as a group rarely swerved off-center, and their center was the soft purity of Jamie's voice--retreating always, at the end of the phrase, into the supple dreaminess of the mix. Her scats and ethereal high notes are the ribbon on the package..."
Ted Scheinman - Washington City Paper (Oct 3, 2008)
“…Broumas has the vocal ability and harmonic finesse to join the ranks of horn players, and charm ours.”
The Washington Post
“Jamie Broumas could sing the proverbial phone book and make it sound like something Cole Porter wrote.”
Mike Joyce - The Critic's Place
“Her vocal technique is admirable as she rides the crest of a surging rhythm trio. She swings “Wild”, “Moonlight”, and “Day By Day” effortlessly, buffeted by Charlie Young’s blustery baritone sax, even scatting a bit on the latter. Her soprano voice has timbre and strength as she aims it straight ahead, without affectation or a single trace of reticence.”
Cadence Magazine
Vocalist Jamie Broumas has been a connoisseur of jazz since the day she met Duke Ellington. A fourth grader at Louise Archer School in Vienna, Virginia at the time, she recalls the special day when the school's music teacher, Philmore Hall, invited Ellington and his trio to perform at the school. Because Hall was Dizzie Gillespie's trumpet teacher, he moved in the important jazz circles of the 60s and had no difficulty convincing his friend to share his musical wealth with those fortunate Fairfax youngsters.

Over the years, Broumas has carved out a career with a voice critics call "one of Washington's best-kept secrets." Buoyed by the success of her most recent CD, "Wild Is Love," she is tempering her role as mother to college-bound children for a full-time foray into the jazz scene. She will next be heard in concert on December 1 at the Music Center at Strathmore, where she is the Artist in Residence Mentor for the 2010-2011 season. Later in May, she and her band will appear at Blues Alley.

She regards her band as the best in the business with Steve Rudolph out of Harrisburg, Pennsylvania on piano, Michael Bowie on bass and Harold Summey on percussion.

Rudolph, a recording artist and producer, has performed with Louie Bellson, Paquito D'Rivera, Terry Gibbs, the Mills Brothers, Buddy Morrow and a host of other jazz greats. Bowie trained with Betty Carter and Keter Betts before backing Manhattan Transfer, Abbey Lincoln, Joe Williams, Della Reese, Ricky Skaggs, Isaac Hayes and many major artists. His interests range from performing in every musical genre to educating on both public school and university levels. Summey, a member of the U.S. Army Band, won the Sixth Annual Thelonius Monk International Jazz Competition for drums in 1992 and teaches Jazz Percussion at George Mason University.

Backed by these masters of their craft, Broumas is in her element. A graduate of Vassar College, where she studied classical voice and majored in music history and theory, she delved into jazz ensemble work at Berklee College of Music before joining the Grammy-nominated vocal group Rare Silk.

Along the way, she has been soloist with such jazz musicians as Cyrus Chestnut, Herb Ellis and Charlie Young and was a founding member of Washington's Mad Romance, an ensemble in the Manhattan Transfer mode. As the Artists in Residence Mentor at Strathmore, she looks forward to spending the year guiding five emerging musicians to create an education program and premiere their own newly commissioned work.
“…Her opening set at the One Step Down on Friday night comprised an intimate collection of sambas, torch songs, and up tempo standards that quickly revealed her vocal finesse and interpretive gifts. Dark and seductive one moment, spry and feather-light the next, her voice brought unusual warmth to love-struck ballads and punctuated other tunes with alternately free-spirited and sultry passages of scat…”
The Washington Post
JAMIE BROUMAS "Wild Is Love"
Need a lift now that summer has faded? "Wild Is Love" just might be the remedy, what with jazz vocalist Jamie Broumas kicking things off with a bright, blues-chasing performance of "What a Little Moonlight Can Do." Her sensuous voice and quicksilver flights, animated by drummer Steve WIlliams's fluttering rhythms and offset by saxophonist Charlie Young's resonant baritone, is the first of several mood-enhancing performances. Well-known in the Washington area for her solo appearances and recordings, as well as her association with the innovative ensembles Rare Silk and Mad Romance, Broumas has chops and personality to spare. The Notion that a great jazz vocalist doesn't perform a song so much as inhabit it may be a cliche. But it's one worth dusting off when everything clicks on "Wild Is Love", whether Broumas is casting a dreamy spell with "Last Night When We Were Young," igniting a torch on "You Won't Forget Me" or saluting the genius of Antonio Carlos Jobim with a sunny performance of "Outre Vez," rendered in Portugese. Not least of the album's pleasures derive from a colorful assortment of tunes. Bill Evans's "Waltz for Debby" is a delightful showcase for Broumas's interpretive gifts and pianist Steve Rudolph's vibrant touch. The album's title track, one of two performances dedicated to the late Shirley Horn, is equally enjoyable.
Mike Joyce - The Washington Post (Sep 26, 2008)
Praise for “Wild is Love”
--“Watching –- and listening to –- Jamie Broumas develop over the course of a quarter-of-a-century has been this writer's pleasure. The combination of gorgeous tone, a convincing interpretive ability, and sheer swing on tune after tune on her new album Wild is Love is irrefutable evidence that she is today a world-class jazz singer. From the ache in her voice on Harold Arlen's "Last Night When We Were Young" to the horn-like phrasing of her scat on Sammy Cahn's "Day By Day" Jamie proves that she can do it all. That her taste is impeccable is seen in the choice of materials as well as in the quartet of professionals whom she brought into the studio as accompanists. On board for the session are Steve Williams, who traveled the world as the late Shirley Horn's drummer, pianist and arranger Steve Rudolph, multi-reed player Charlie Young, and bassist Michael Bowie.”
-- W. Royal Stokes, author of The Jazz Scene, Swing Era New York, Living the Jazz Life, and Growing Up With Jazz
W. Royal Stokes (Oct 17, 2007)