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Diane Hubka

b. Maryland, USA. Hubka offers recalled her family members as being extremely musical, specifically her mom who sang having a folk group. From an early on age, Hubka regarded as being a vocalist and leaned towards rock and roll but did nothing at all concerning this through senior high school and into university, although she did research piano and acoustic guitar privately. While going to Frostburg State University or college, she learned all about jazz partially through her acoustic guitar teacher, Expenses Bittner. She started singing using the Frostburg Jazz Quartet, an organization created by Bittner and fellow college student, Mike Geller. As she started serious consideration of the career being a vocalist, Hubka paid particular focus on artists who proved helpful locally, notably Shirley Horn and Ethel Ennis. After graduation, Hubka shifted to Washington, DC, showing up at venues such as for example Blues Alley. In 1989, after earning a Jazz Fellowship through the Country wide Endowment for the Arts, Hubka relocated to NEW YORK to review with Anne Marie Moss. Definately not neglecting her first instrumental options, she continued to review piano with Harold Danko and electric guitar with Gene Bertoncini and John Hart. Additionally, she went to workshops at Barry Harris’ Jazz Cultural Movie theater with the General Jazz Coalition. Dealing with little groups with big rings, she set up a popularity and made an appearance at many renowned locations including Birdland, Blue Take note as well as the Jazz Gallery. She’s also returned every once in awhile to her house state, showing up there as visitor soloist using the Traditional western Maryland and Potomac Highland Symphonies. Hubka’s debut, Haven’t We Met?, which highlighted guest musician Lee Konitz, was nominated in 1999 with the Jazz Journalists Association for an prize for Best Saving Debut Of THE ENTIRE YEAR. In fact, a privately documented and released cassette had made an appearance some time previously. Hubka’s recognized vocal mentors consist of Billie Vacation, Ella Fitzgerald and Carmen McRae. Hubka in addition has cited many instrumentalists as significant mentors, notably Connie Crothers. Among various other music artists with whom she’s worked and documented are Frank Kimbrough and Harvie Swartz while her many admirers consist of Bob Dorough, a few of whose tunes she contains in her eclectic repertoire which also contains vocal variations of tunes by jazz performers such as for example Clare Fischer, Herbie Hancock and Expenses Evans. In overall performance, Hubka displays an extremely pleasant tone of voice and methods ballads with calm charm. On her behalf jazzier outings, she actually is relatively busier but is definitely elegantly tuneful. Regardless of the materials, Hubka’s freshness engages the eye on new tunes while breathing new lease of life into old requirements.

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