Toronto Jazz Singer Geneviève Marentette Revitalizes CCR, Blood, Sweat And Tears, And More For Inventive Album Songs of ’69, Volume I
Toronto jazz chanteuse Geneviève Marentette was performing a three-month-long residency at the hotel bar in the Island Shangri-La, Hong Kong in 2019 and seeking material for a theme to the shows. Marentette used the past as her future inspiration, returning to the music made and released a half-century earlier in 1969. The result is the fantastic and extremely novel idea of reworking these classics into her own signature jazz style for Songs of ’69, Volume I, a stellar, stunning 10-track effort released on Vesuvius Music Inc. honoring each song with thoughtfulness, tenderness and led by Marenette’s marvelous, majestic voice.
Marentette, also known as “Gigi” to some, noticed the parallels between the music created in 1969 amid the social activism (women’s liberation movements, Vietnam War protests, Stonewall Riots, and LGBTQ+ equality) they were crafted in, “a powerful reflection of a time when music and activism were intertwined.” It was also a huge year for Marentette’s mother, musician Linda Girard (one of two people Songs of ’69, Volume I is specifically inspired by and dedicated to). Girard, then 18 in 1969, left her job in Windsor, Ontario, relocated to Toronto, and assisted American draft dodgers trying to evade the Vietnam War. “Her commitment to social justice, human rights, and peace echoed the ideals that inspired the musicians of that era,” Marentette says of her mother.
Although with a horde of material to choose from considering the year, the artist narrowed it down to ten gems.
“There are so many gems from this year in music history: the whole era is chock-full of gorgeous, well-crafted music with a message, but I ended up with ten covers close to my heart,” Marentette says of Songs of ’69, Volume I. “These songs are in my emotional DNA; I grew up with them, and they resonate particularly with my parents and loved ones who have surrounded me and kept me in my craft.”
Songs of ’69, Volume I, produced by Marentette and Jono Grant (who also mixed and mastered the album), includes songs made famous by the Guess Who (“Undun” and “These Eyes”) and Bob Dylan (“Tonight I’ll Be Staying Here With You” and “Lay Lady Lay”) alongside deeper cuts by Nick Drake (“River Man”) and British prog-rock pioneers King Crimson (“I Talk to the Wind”).
Also included on Songs of ’69, Volume I is “You’ve Made Me So Very Happy,” a song written by Brenda Holloway and recorded by Blood, Sweat & Tears. The song, featuring cinematic string accents by Grammy-nominated musician Drew Jurecka, is especially personal as Marentette released it last month to celebrate the 83rd birthday of Blood, Sweat & Tears vocalist David Clayton-Thomas, the other person Marentette specifically dedicated the album. He was also a source of inspiration following “resonant discussions” Marentette had with the legendary vocalist about the ’60s, “a time when musicians were warriors of social justice and peace.”
Marentette began recording in 2022 for Songs of ’69, Volume I. “The arrangements emerged from many spontaneous performances with my core trio, which includes Eric St-Laurent (guitar), George Koller (bass), and Ben Wittman (drums),” Marentette says. “As is my way as a song interpreter, we’ve fused folk, soul, and pop into a jazz-rooted approach. After years of singing jazz in hotel lounges, I love arranging and interpreting songs from every era.” It’s a sound and style that brings to mind highbrow work by Diana Krall, Sade, Cassandra Wilson, and the late Angela McCluskey.
Although the material effortlessly draws the listener in from start to finish, some songs simply shine, particularly “Undun,” with its sultry horn accents by Alison Young, some great guitar work by St-Laurent, and a divine delivery from Marentette. Meanwhile, Marentette’s rendition of Nick Drake’s “River Man,” from his Five Leaves Left album, is a sparse, reflective, and deeply bittersweet tribute, made even more poignant by the loss of her sister.
“It was one of those songs I leaned on when I was 15 and had lost my sister to an overdose, and I had no idea it was from ’69, and I had no idea Nick Drake had passed away from an overdose as well until I made this album,” she says.
The album, featuring “Lay Lady Lay” tweaked to reflect a “woman-to-woman plea for intimacy and connection,” closes with an incredible reworking of Creedence Clearwater Revival’s “Bad Moon Rising.” It’s one of the freshest, most invigorating covers you’ll hear. The gospel, hymnal organ by Lou Pomanti, and pedal steel wizard Burke Carroll accentuates Marentette’s ethereal, soulful approach to the John Fogerty-penned staple. Simply put, it’s a spine-tingling coda to what is an almost criminally consistent collection of covers.
Recorded by Grant, Rob Christian, Jeremy Darby, and Julian Decorte and recorded at Victory Drive, RC Studio, and Canterbury Music Company, Songs of ’69, Volume I includes two big band-style horn arrangements on “Easy to be Hard” and “Undun” featuring tenor saxophonist Alison Young. Grant played bass, drums, keys, and percussion, and singer Lori Cullen provided backing vocals (“Tonight I’ll Be Staying Here With You”), with contributing musicians saxophonist Richard Underhill, trombonist Christian Overton, trumpeter Marie Goudy, pianists Michael Shand and Vezi Tayyeb, bassist Andrew Stewart and lap steel guitarist Christine Bougie.
Born in Leamington, Ontario and spending her teen years in Detroit, Marentette was inspired by her mother and her career as a musician. Performing throughout Asia and Europe, she returned to Canada in 2014. Having worked with a variety of artists such as Clayton-Thomas, Don Francks, and Jane Siberry, Marentette produced The Heart of 21 in 2019, an EP by her mother celebrating her mom’s 70th birthday. In 2021 the artist released Live & Improvised, a live recording from a Toronto concert featuring Marentette and pianist Robert G. Scott.
Hi, Gigi! Good to meet you! Care to introduce yourself to the readers?
Hi folks! I’m Genevieve Marentette, known to many as “Gigi.” I’m a performer and song interpreter and dare I say aspiring composer! I was born in Leamington, Ontario, (Tomato Town as Stompin’ Tom calls it) and I’ve loved being on stage and wailing pretty much since I could walk. My dad is a farmer, and my mom is a musician. I’ve been shaped by many different genres—jazz, folk, Motown, global music, and even techno… all rooted in an improvisational approach, and I’ve had the honour of performing around the world and collaborating with incredible musicians, but my heart is always in interpreting music in my own unique way. Right now, I’m very excited about the release of my album Songs of ’69, Volume 1, which is my love letter to the iconic music and social movements of 1969.
Songs of ’69, Volume I, reimagines tracks from a pivotal year in music and social history. How did you decide which songs to include in the album, and what personal connections do you have to them?
This project was born from my 2019 residency at the Shangri-La Hotel in Hong Kong, where I needed to create a theme for my performances. While researching, I kept getting pulled into 1969—it was just such a monumental year for music and activism. There were so many incredible songs; narrowing them down was tough, but I chose the ones that felt deeply woven into my emotional DNA and were fit for the radio airwaves! These were songs I grew up hearing, songs of my parents’ cherished youth, and songs that still resonate with the issues we face today. Tracks like “You’ve Made Me So Very Happy,” “River Man,” and “Undun” all hold personal significance—whether through my connection to the artists behind them or the memories of my family, what I was going through at the time and loved ones who introduced me to them.
The social movements of 1969—such as the women’s liberation movement and Vietnam War protests—paralleled the activism in the music of that time. How do you think your interpretations of these songs reflect today’s social landscape?
I think music and activism have always been connected, there are even interesting parallels between post-pandemic social movements and that’s part of why I’m so drawn to 1969. Many songs from 1969 were anthems for change, but all of the music from that time has a lot of emotional depth. I have always loved re-inventing classics and enjoy how these songs’ meaning rings true now. For instance, the lyrics of “Easy to Be Hard” could be talking about the indifference we sometimes see now. Or “Bad Moon Rising,” which hints at the storm clouds of uncertainty that are always looming, both politically and environmentally. I think these songs still have the power to inspire us to stay engaged, compassionate, and hopeful—much like they did back then.
Your mother, Linda Girard, was a major influence on this project. Can you tell us more about how her experiences and values shaped the direction of Songs of ’69?
My mom, Linda, has been one of my greatest inspirations. In 1969, she was 18, working with draft dodgers from the Vietnam War and dedicating herself to social justice and human rights. Her experiences and values are very much at the heart of this album. Growing up, she surrounded me with music that spoke to these causes—whether it was through folk, jazz, or protest songs. Her commitment to activism and peace shaped how I view the world and my role as an artist. This album is dedicated to her and to my mentor, David Clayton-Thomas, both of whom showed me that musicians can be warriors for justice and positive change.
You’ve worked with incredible musicians for this album, including Jono Grant and Drew Jurecka. How did their contributions help you bring your vision to life?
Working with Jono and Drew was such a gift. Jono is not only an amazing multi-instrumentalist but also a brilliant producer. He created these stunning horn arrangements for on “Undun” and “Easy to Be Hard” that give the songs a big, cinematic feel. Drew’s string arrangements brought a depth of emotion that took tracks like “You’ve Made Me So Very Happy” and “I Talk to the Wind” to another level. Their creativity helped turn that vision into something really special, and if I had a bigger budget I would have done more.. more horn arrangements… more strings. I can perform these songs with a duo… but these lush recordings are just SO GOOD. Working with these outrageously talented musicians is really fun and a huge gift.
The title suggests this is Volume I. In future projects, can we expect more reimagined classics from other eras or years?
Yes, absolutely! I barely scratched the surface here. There are way more songs, more string arrangements in the future. Would you come to a “Songs of ’69” with orchestra performance? I’m dreaming that up now…
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