Howard Reich, Chicago Tribune (taken from the Joey DeFrancesco article, "Organist provides slow, soft sensitivity"
"So informal was this set that after just a couple of pieces DeFrancesco looked out into the audience to seek an artistic collaborator: He found one in veteran Chicago singer Marc Pompe, who leapt to the stage to offer moody, slower-than-slow account of the standard "My One and Only Love." ...The man's phrasing - at once ultra-sophisticated yet easily accessible - helped save the day."

Let the Show Begin / Tucson's art critique and columnist Chuck Graham
Chicago nightclub singer and pianist Marc Pompe returns to the Old Pueblo Grill, 60 N. Alvernon Way, on Sunday, Nov. 25, for a showcase gig with the Pete Swan Trio at Swan’s weekly evening of jazz and a jam.

Anyone old enough to appreciate supper club and restaurant entertainers before rock ‘n’ roll took over will appreciate Pompe’s skill as a saloon singer with that offhand and intimately rueful personality you don’t hear much anymore.

As Randy Freedman wrote for Chicago Jazz Magazine: “Pompe is every inch an original. He has a breezy, don’t-take-me-too-seriously-unless-I-want-you-to style that suggest an earlier jazz era, but is relevant to the here and now.

“Pompe can swing hard or can bring you sensitive phrasing and tempo to highlight the beauty of a lyric. Sometimes he does both within the very same song. Few other artists can match his variety of musical skills and imagination.

“Some vocalists may experiment with a new song the first few times they perform it, but eventually settle on one interpretation which makes them feel comfortable and seems to please their audience.

“Pompe seems to regard each new performance of a song the way a great painter does a fresh piece of canvas, and seizes every opportunity to re-examine and re-interpret melody and lyrics as they sound at the moment, in that room, with those instruments and those musicians, and tweak them as he pleases. No two performances are the same, and a careful listener can always find something new and different each time they hear him.”

The music starts at 7 p.m. Sunday, Nov. 25, at the Old Pueblo Grill, 60 N. Alvernon Way. No cover, no minimum.

Review of Hi-Fly by D. Oscar  Groomes - O's Place Jazz Magazine
Charlotte, NC
Vocalist Marc Pompe has performed with bassist Dennis Carroll, Alejandro Urzagaste (g) and George Flubas (d) long enough to be seamless. The addition of pianist Jodi Christian is special for Hi-Fly and he fits in like a custom made glove. They open with "Alone Together", a bop tune followed by the classic "Shiny Stockings". Marc places his voice among the instruments as a blended ingredient rather than a layer on top. The well-articulated words pop out with a message. This style makes repeated listening enjoyable. Pompe also allows his band to stretch out on numerous occasions. We enjoyed Jodie's solo on "Embraceable You", George on "Well You Needn't" and Alejandro shadowing Marc on "Hot House". This is a winner!

Review of Hi-Fly by
Veteran singer jazz Marc Pompe is a respected veteran of the Chicago jazz scene, who has spent time in New York City and the Northeast as well as the Virgin Isles. A solid interpreter of the Great American Songbook, Pompe's brand of vocalizes should appeal to those listeners who enjoy male vocalists ala Kurt Elling or Mel Torme. Pompe has a relaxed-sounding voice that can range from ringing to husky to pleasantly nasal, an ability to scat convincingly and an assured sense of phrasing culled from his years of experience entertaining club audiences. On Hi-Fly, Pompe recruited a first rate group of musicians, including bassist Dennis Carroll and drummer George Fludas. Underrated guitarist Alejandro Urgzagaste adds a welcome touch, while legendary pianist Jodie Christian fills the piano chair admirably. Standout tracks include "Alone Together" "Shiny Stockings" and Randy Weston's title track - which is a regular highlight of Pompe's live sets. Oft-covered songs like "How Deep is the Ocean," "Embraceable You" and "One for My Baby" are joined by enjoyable numbers like Victor Feldman's "Haunted Ballroom," Tadd Dameron's "Good Bait" and a captivating medley of "Hot House" (scatted) and "What is This Thing Called Love." A fine throwback to an earlier golden era of jazz vocals.

Review of Hi-Fly
Dick Crockett; 'the voice' 88.5 fm Sacramento, CA.
"Jazz singer Marc Pompe is a true jazz style vocalist with a strong voice, excellent control and phrasing, between the lines. It's like that for the true prodigious of the lost art. For it's all about the search of something, in this case it's a real, Marc Pompe, a man true to his art, demonstrating his own time, phrase and space as in "Midnight Sun." Pianist Jodie Christian, veteran and Chicago's finest sits in as a prominent feature on this CD. Believe me, you'll know it, as soon as you hear it, for there's an off quick track alliance going on here with accompanists appear with potent bop tunes of a jazz artist, as,"Hi-Fly," "The Midnight Sun,""Hot House," and "Good Bait." I'm not up for snuff, so I'll sign off."

Hi-Fly Linear Notes by Dennis Carroll
The old adage, "I don't know much about art but I know it when I see it" comes to life when you hear Jodie Christian. Anybody who has had the benefit of knowing him or playing with him has experienced the rare: a real artist. An artist creates an atmosphere by imposing his individuality and large personality on life and music. This was always true for Jodie. A Superb pianist for over 50 years, he has brought his limitless artistry to Everyone from Coleman Hawkins to Eddie Harris, to the AACM. Through the years that Marc, George, Alejandro and I have played with and come to know Jodie, we learned first hand what an artist is. Most musicians one encounters are merely craftsmen. They have honed enough skills and learned all the right rules to get through gigs and to know not to trespass over the prescribed boundaries. Jodie was the first musician we encountered who transcended that. He showed us what it was like to turn music into a search for truth - a search that he invites his fellow musicians on every time he plays. The only rules he follows on this search are the ones that say 'be true to yourself', push the boundaries if your imagination demands it never compromise the music. Marc, Alejandro, George and I had never played together with Jodie. This recording was our chance to do so. We hope you like it....

Chicago Jazz Magazine • “Pompe Is Still On Fire”
By Randy Freedman • September-October 2009

Veteran Chicago vocalist/pianist/songwriter Marc Pompe knows his way around the Chicago jazz scene as well as anyone can, possessing a wealth of experience from which to draw. His recent performance at Katerina’s Supper Club as a trio stood out from his typical performances, because that night he stepped away from the piano. As a rarity, instead of being his own accompanist, Pompe got the chance to fully concentrate on his vocal skills and song selection, while leaving the musical driving in the capable hands of guitarist Andy Brown and upright bass player Doug Hayes.

At the height of his long career, Pompe was not only one of the more popular male jazz vocalist in Chicago, but was in-demand nationally, performing dates at- among other venues- the prestigious Jilly’s in New York. Pompe left he limelight behind for a while to pursue a quieter, more peaceful lifestyle in St. Thomas in the U.S. Virgin Islands. Upon his return to Chicago, Pompe found (as did many others) that the music scene had changed, and that it was more difficult for his to find work. Pompe could not regain the full extent of his previous popularity with audiences and club owners, though certainly not for lack of skill or effort: changing times had taken their toll.

Today, an ironic side effect of the current worldwide economic slowdown and one that actually favors musicians like Pompe- is that although there is less work overall for musicians in Chicago, vocalist who can accompany themselves on piano are in relatively greater demand than before. Despite the poor economy, Pompe appears regularly behind the piano of venues like Maggiano’s on Clark, McCormick & Schmick’s and the Chambers in Niles.

The opportunities to appear in a concert-like setting with other musicians are fewer for him, and made this performance at Katerina’s a relatively unique opportunity for Pompe and his fans.

Music highlights from this performance included “What Am I Here For” (Ellington and Hendricks) and “Old Chair” (Pompe), the songs sharing a Pompe specialty- the use of what he calls “a busy lyric.” These lyrics are pre-written by Pompe, which he incorporates into an existing song while improvising melody and tempo in a manner similar to “scat,” but using real words and sentences with meaning. Pompe has the annunciation and poise required to do this in a way that lets the listener hear and understand every word clearly, no matter how rapidly they are delivered.

Brown demonstrated his guitar skill by staying with Pompe no matter where his improvisational stylings took him. Other highlights where “Two For The Road,” Flying Down to Rio” and “The Best Thing For You Would Be Me”- all of which all featured great bow work by bassist Hayes.

Some vocalists may experiment with a new song the first few times they perform it, but eventually settle on one interpretation which makes them feel comfortable and seems to please their audience. Pompe seems to regard each new performance of a song the way a great painter does a fresh piece of canvas, and seizes every opportunity to re-examine and re-interpret melody and lyrics as they sound at the moment, in that room, with those instruments and those musicians, and tweak them as he pleases. No two performances are the same, and a careful listener can always find something new and different each time they hear him.

Pompe is every inch an original. He has a breezy, don’t-take-me-too-seriously-unless-I-want-you-to style that suggest an earlier jazz era, but is relevant to the here and now. Pompe can swing hard or can bring you sensitive phrasing and tempo to highlight the beauty of a lyric. Sometimes he does both within the very same song. Few other artists can match his variety of musical skills and imagination. • You Must Believe In Swing / Lost In The Stars Review

by David Dupont • April 18, 2005

Singer Marc Pompe comes to national attention with a tale to tell. Born in 1936, he's been working as a singer for half a century, based out of his native Chicago. But aside from a few cassette releases, he's never recorded, and hence not made much of a splash. Writer Alan Bargebuhr heard Pompe during a one-night stand in Pennsylvania and brought him to the attention of Cadence-CIMP impresario Bob Rusch. Now neither Bargebuhr nor Rusch are known for being easily impressed, but they were of a like mind on Pompe. The result is not one, but two releases: the Cadence-issued You Must Believe in Swing, a 2001 recording split between duets and tracks with Joey DeFrancesco's trio, and Lost in the Stars, a 2004 session recorded in CIMP's Spirit Room.

Opening the Cadence release with the title tune, Pompe and friends practice what they preach. A medium up-swinger, Pompe wastes little time moving through his own witty lyrics into some scatting over the changes of DeFrancesco's tune. The song could very well be subtitled "announcing Mark Pompe". He has a smoky tenor: a touch nasal, a touch hoarse. He sounds his age, the way a well-aged wine tastes its age. He has a sure sense of swing, operating very much as a member of the ensemble, rather than a singer with rhythm background, and he never sounds like he needs the rhythm section to show him how to swing. When he addresses a song's lyricism, as he demonstrates on "You Must Believe in Spring", he knows how to turn a word, lengthen it or cut it short to dramatize its meaning. He's not a demonstrative musical actor. Rather his low-key, seemingly offhand approach belies the way he inhabits these songs.

The program is well selected to show off the leader's skills. The songs come from the jazz standards book with some evergreens like "You Must Believe in Spring", "Chelsea Bridge", and "Masquerade", each of which he makes his own. But he also makes his mark with the Marian McPartland-Johnny Mercer collaboration "Twilight World", a song he invests with a hard won emotionalism. He and Roberts treat The Beatles' "Eleanor Rigby" as a rollicking boogie, an interpretation that proves unexpectedly fetching. It provides an interesting contrast to the straight-ahead swing of the DeFrancesco Trio.

Drummer Byron Landham powers the ensemble. The band swings so hard, I shifted my attention to Landham to hear what he was doing and he was doing... nothing, or at least nothing spectacular. He relies on the basics and a solid beat. At one point under Henry Johnson's solo on "Gee Baby Ain't I Good to You", he pushes along the guitar with a double roll: Brrrr-bhap! Brrrr-bhap! The organist and guitarist provide soulful solos that complement the vocals and never lapse into organ trio cliché. Roberts provides support on "Twilight" as well as the Beatles tune and guitarist Curt Warren duets with him on Strayhorn's "Chelsea Bridge".

Warren is a member of the trio that found its way with the singer to upstate New York to record Lost in the Stars. Given CIMP's uncompromising approach to recording and producing, a singer needs to be confident to venture into the Spirit Room. Vocalists are recorded just like instrumentalists. The two microphones are positioned to get the best overall impression of the entire ensemble, not a vocalist with instrumental backup. Without a mike to call his own or the safety net of post-production doctoring, Pompe, like the other singers who have dared to take the CIMP challenge, finds his voice exposed, naked in both its glory and fragility.

The recording achieves a bracing intimacy. I sense this is how Pompe hears the music in his head and he delivers it unadulterated, forswearing any effort to play it safe. The repertoire covers an even greater range including classics from the Basie ("Corner Pocket") and Ellington ("I Didn't Know About You" and "Do Nothing Till You Hear from Me") books and standards ranging from classic swingers like "Lucky to Be Me" to Kurt Weill's aria "Lost in the Stars". And he tackles a fistful of jazz tunes, including Monk's "Well You Needn't" and Joe Zawinul's metric puzzle "Rumplestiltskin". He spins all these into musical gold, both in reading the lyrics and providing some capable scat. On "Do Nothing Till You Hear from Me" he delivers a sweeping, cogent statement—transcription worthy, even—that sounds like it's referencing trombonist Lawrence Brown's set piece solo as much as the tune itself.

The "Lost" rhythm section of Warren, bassist Nick Tountas, and drummer Rusty Jones offers a looser, more open sense of swing than the tight variety provided by the DeFrancesco group. Warren offers up laconic guitar statements that fit with the relaxed, four-guys-in-a-living-room mood of the session. Pompe sounds not so much as a performer as someone who's just doing what he loves.

Regardless of his age, Marc Pompe is hip in the deepest, most profound way. He doesn't need the trappings of style and youthfulness. Pompe stays true to the music he loves, performing it with the deepest love for its tradition and possibilities. That's timeless. • You Must Believe In Swing Album Review

Vocalist Marc Pompe is primarily known within his hometown Chicago and hasn’t recorded a whole lot. Regardless, if you dig Jon Hendricks or Mark Murphy, then Pompe’s hip and thoroughly swinging persona should bring a sparkle to your mind’s eye. With backing by Hammond B-3 ace, Joey DeFrancesco and his revved up trio, Pompe handles a portion of the American songbook with magnetism and assurance. As DeFrancesco, along with guitarist Henry Johnson and guest soloists dish out some irrefutably groovin’ solos during the preponderance of these nicely enacted studio dates.

Chicago Jazz Magazine • You Must Believe in Swing Album Review
January 2005 • by Michael Barton

You Must Believe in Swing is a CD that from start to finish shows the polish of years of experience and soul searching. Joining Pompe on this project are Joey DeFrancesco (B3), Henry Johnson (guitar), Byron Landham (drums), Curt Warren (guitar), and Judy Roberts (piano).

I have long been a fan of Henry Johnson and the Organ Express. If you haven’t checked them out, it’s worth the night out anytime. Teamed with DeFrancesco and Landham, Johnson really brings it home. His soloing and comping throughout the CD show high levels of virtuosity and taste. His playing perfectly compliments DeFrancesco, who has been shaping the way we hear the organ for years. On a short list of B3 players that are staples in jazz vocabulary, he’s right there. To top it off, he’s a better bass player than most guys working in Chicago, myself included, that don’t have to comp or solo on top of themselves. Judy Roberts: her playing on “Eleanor Rigby” and “Twilight World” complete this project, the latter being my favorite cut on the CD.

As for Pompe, he has two things that most singers don’t: his own style and good phrasing. His treatment of each song is unique without losing the tradition of singers that come before him. I also must commend Pompe for his choice of repertoire. There is a fresh blend of songs that work very well together. As for the recording, I say that a bad mix is like a fat man that stands up in the front row of a club and talks politics at the top of his lungs. For this project, the fat man has definitely let the building. This CD is right on the money with the blend each musician brings, ant the blend the engineer put onto the disc. All this together makes You Must Believe in Swing easy to take for event the most Ritalin-withdrawn, Nintendo-junkie, jazz fanatic-and you know who you are.

It is simply a shame that more people don’t know of Marc Pompe. So the word is: buy this CD.

Liner Notes from You Must Believe In Swing
by Alan Bargebuhr

Marc Pompe, born on November 3, 1936, a 1957 graduate of the DePaul University School of Music, where he majored in composition, has been making music for well over half a century, ruminating at the keyboard, turning the weathered pages of the American Popular Song book and singing the literate lyrics of the tunes therein- and doing so in partial obscurity. Best known in his home town of Chicago, somewhat less well known in New York, Toronto, Pittsburgh, and St. Thomas, all stops along his scattered and scatting way, where he has paused to administer various dosages of bopperous melodic grace, virtually unknown in the country’s innards, in places where he has not personally left actual shoe prints, he has plied his trade, striving always to be true to himself and the songs he chooses to sing. His previous recordings, a cassette only release, and a CD on a very small label, have not heretofore been widely distributed, and so it is- due to the convergence of all these factors- that the average hipster, from whose goatees names like Mark Murphy and Kurt Elling freely tumble, may not yet have heard of this Pompe, much less heard him. That this CD will serve to rectify this musical nescience it the hope of Cadence Jazz, for the tracks herein will make clear that he comes to us as an artist whose vocal skills, simmering for half a century, are fully realized and ready for consumption by that portion of the jazz citizenry holding vocal jazz delivered with taste, intimacy and intelligence near and dear to its heart.

I first heard Marc Pompe in the Fall of 2003, when he returned briefly to Western Pennsylvania to appear in the bar of a hideaway restaurant situated on a winding two lane road running up out of Clairton, from a road paralleling the Monongahela. (Love those Indian names.) He played piano and sang accompanied by only his friend and drummer, Spider Rondinelli, just the two of them making lovely saloon music. The small bar area, not particularly designed to accommodate musicians and their instruments was cramped, to say the least. Marc’s back was three feet form the ice making machine, which every so often seated with friends, at a table so close to Rondinelli that I could have eaten my chips & dip off his Zildjian. But the songs flowed, with bop interpolations and a certain rueful air of nourish romanticism. Marc likes to say his influences are Frank, Carmen, Joe Williams, Jon Hendricks, and Ella, so when I got to talk to him at a break, wisenheimer that I am, I said, oh, sure, sure all the usual suspects…and the he said, with a knowing grin…and I almost forgot…Tex Beneke, too. And, damned if I didn’t hear ole Tex. It’s in the understatement of the lyric line, that way Marc has of implying more than he’s willing to come right out and say. You’ll hear it throughout this CD, but if you want it in prime facie form, listen to the way he sings, “she’s like a breeze in the summer,” on “Here’s To My Lady.” You may think you’re making an inference, based on your own experience, either with your doll, or (if you’re a doll) your guy, but you’d be wrong. It’s Marc’s implication … unmistakably there. It all has to do with his artful phrasing, his sense of time, his insinuative vocal approach, and in a certain feeling of introspective melancholy with which he informs ballads and songs which deal with loves lost in time, and time lost in the midst of love. I finally suggested to him that I even heard some Joe Mooney in the ease and relaxation of his phrasing, in the little touches of parlando here and there. Marc nodded to indicate that he knew to whom I was referring. In his fifty plus years of making music, no doubt he’s heard them all and had a chance to assimilate what suits him best.

The bulk of this music stems from a 2/28/01 date which finds Marc’s vocals emanating from the brazier known as the Joey DeFrancesco trio, whose precise personnel is listed elsewhere on this insert. The opening “Swing” is a Buddy DeFranco line, to which Marc has matched a witty set of lyrics, establishing immediately that his skills as a lyricist should be considered part of the total package he delivers. The track cooks, Marc offers some well-honed scat, and the session takes off down the track under a full head of steam, to make bop, blues and ballad stations, all part of a thoughtfully paced and varied journey, embracing an ardent reading of “Masquerade,” as well as the sweet grit of “Gee, Baby…” There are three sidetracks from the DeFracesco material. On “Twilight World,” Judy Robert’s euphonious piano is Marc’s only accompaniment. Judy, a singer herself, brings her vocal point of view to her nicely detailed playing. Marc’s reading of the Johnny Mercer lyric is both restrained and expansive, in that way only singers who really love words can make lyrics prosodic and poetic simultaneously. Well, he names Sinatra, as one of his influences, doesn’t he, so there’s really no surprise there. “Eleanor Rigby,” again with Judy Roberts at the piano, is an almost frenetic reading of the “Beatle tune,” a more than slightly obsessive descent into that yawning ditch with Eleanor’s corpse, as witnessed by the wails of “all the lonely people.” Judy Roberts plays as one possessed. The third departure from the main line, as it were, is “Chelsea Bridge,” that venerable Billy Strayhorn line, to which Marc has wedded a lyric full of rain and rueful memory. The track finds a solitary Kurt Warren playing “orchestral” guitar in support of the vocal.

So, an abundance of proofs that the time has come for this vocalist to be more widely heard- and it’s past time for me to stop running my word processor, and for you to take Marc Pompe out for an aural spin, if you’re not already doing so. Time to become better acquainted with a jazz vocalist who deserves the full exposure this CD offers.

LOST IN THE STARS Album Review, Cadence Magazine
by Alan Bargebuhr • January 2005

In the interest of full disclosure, I'll come clean without any coaxing. Yes, I am personally acquainted with Marc Pompe and, in fact, had something to do with introducing him to the Cadence conglomerate. I wrote the liner notes for his Cadence Jazz CD (not yet reviewed) and find myself mentioned in passing in the notes for this one. Does that mean my objectivity is compromised? Well, what makes you think I'm objective, anyway? Reviewing has mostly to do with expressing opinions, particularly in matters as abstract as music. So, now you know.

I don't think I've ever been present at a Pompe gig, when he didn't slice through the smoke and barroom clatter with a pointed reading of Randy Weston's "Hi-Fly" (words by Jon Hendricks). And here it is, without any indecorous distractions. And, what a reading it is, with its wail of bereavement in his urgent opening phrase - 'Old ways seem to have passed us by' - and the exquisite bitterness in the way he all but sneers the phrase 'acting silly while they fly..... high.' Add some cookery by the trio between his opening chorus and the culminating close and you have a 21st century dialectic, with bracingly strophic guitar from Curt Warren, angular accents from Rusty Jones' drum kit, nicely placed notes from Nick Tountas' bass, and an existentially suspended ending.

All through the session, Marc sings as well as I've ever heard him, with the strain of quizzical melancholia and amiable bop blowziness so seemingly integral to his Jazz personna. He seems to have developed a way of reaching into the anatomical innards of a song, using his voice as ballast to the lyric, reshaping phrases as his grasp on spontaneity flexes. This is never more evident than in his speech inflected "Didn't Know," which he opens with the brief verse, after which the naturalness of his exposition imbues the words with just enough pain to confirm his honesty, but not enough to tip the tale over into self-pity. Curt Warren plays some lovely notes along the way.

"Thrill" allows ample room for fervent soloing from Warren and Tountas and involves Jones in some sprightly concluding trades. 'Nothing' opens on the strength of the Tountas bass and allows the bassist additional solo space, between vocal choruses. The entire trio plays resourcefully throughout the session, whether in the lee calm of Marc's vocals or out in front, skimming the rhythmic breakers. These are men who have worked together over the years and know whereof they fit in the collective scheme of things.

Marc scats on Monk's "Needn't," biting off Mike Ferro's words with relish. Carmen sang the same words on her Monk album (5/02, pg. 30), which lists the song under the title, "It's Over Now." Ferro also contributed the words to Wayne Shorter's "Footprints," turning it into something Darwinian, if not surreal. Marc added the antic lyrics to Joe Zawinul's "Rumplestiltskin," and additional Pompe lyrics are present on the Latin flavored "Dança," which features a melody by Carol Coleman Novak. "Pocket" is by Freddie Green, was in the Basie book for many years. With Don Wolf's lyrics added, as they are here, it's often listed as "Until I Met You."

The Pompe ballad style emerges on his aching readings of Loonis McGlohon's "Wine" and Kurt Weill's (words by Maxwell Anderson) haunting 'Lost.' Marc's reading of the latter is guaranteed to make the candles flicker as the shutters creak in the wind outside. Something indefinable is happening as he sings, with some lovely Curt Warren chording behind him. He must be imagining himself alone in the cosmos, far from home, trailing the dust of his very own existence. Only once through. I was truly moved.

Marc Pompe is a true Jazz singer, in thought and deed, in the way he follows the thread of his own instinct while reacting to his musical surroundings, all the while insisting that notes sustained are never lost anywhere...... not even in the stars.

Chi-Town Live • By Peter Tye & Nancy Scott

Marc Pompe is appearing at the Fairbanks Lounge in the Holiday Inn City Center. He appears on Monday, Tuesday and Wednesday nights. Located at 300 East Ohio.

The three nights Marc plays is an early evening entertainment policy. While enjoying the horsdeurves, one can hear either solo piano or vocals by Marc Pompe. Many a night jazz players come by to sit in with Marc and anything goes when that happens.

The Fairbanks keeps alive a tradition of some great clubs that thrived in the early 60’s here and elsewhere. All featured Marc Pompe at one time or another, clubs that catered to a listening audience and knew and loved the great jazz, swing, and select show times throughout the years. Obscure ballads, great verses and lyrics not often heard.

Le Bistro, Grapevine, Hucksters where some Chi town spots. In the 60’s JILLY’S in Manhattan where the Marc Pompe trio was featured opposite Bobby Cole. Marc also played extended engagements in St. Thomas.

Recent local engagements both single and trio include Windows, at the Hilton hotel, Circa and Linos.

Now at the Fairbanks and still refining his repertoire though having added in original material written over a 30 year span a trio album soon to be released will feature Marc with Rusty Jones on drums and nick Tountas on bass. So if you are in the River North area drop in and catch Marc and see for yourself that the area does have most outstanding entertainment even on the off nights.

Cadence • Nobody Else But Me Album Review
August 2003 • By Jerome Wilson

Finally there is Marc Pompe, a singer who does it the traditional way, full-blooded belting in front of a tasty piano trio. Pompe’s voice is not as distinctive as his models, Mel Torme and Mark Murphy, but he does have a solid, good-humored sound that he uses well on pop standards. A couple of Jazz standards, "Joy Spring" and "What Am I Here For," show he knows how to do vocalese as well. His supporting trio is very competent, especially Larry Novak, a pianist with a lively touch shown best in his few opportunities to stretch out, like on "Waltz For Debbie."

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