For over 30 years, four piece act The Manhattan Transfer has been bringing its phenomenal tunes to discerning jazz devotees all over the world. The vocal group, which comprises Tim Hauser, Alan Paul, Janis Siegel and Cheryl Bentyne, is in town to bring you a riveting concert on Jul 3. We grab the chance to have a chat with Hauser before the group’s concert here.

Hauser, you have been singing since young, and recorded a couple of singles when you were only 15. Have you always wanted to be in a vocal group?
I wanted to be in a vocal group since I was 14. But I did try some other things. I was a marketing research executive for a large manufacturing corporation, and also worked for a large advertising agency. I was also a taxicab driver.

The Manhattan Transfer has been in the scene for more than 30 years. Was the career path of The Manhattan Transfer smooth sailing from the very start? 
It was not smooth sailing from the start. Our style of music was not supposed to be popular. After all, it was not rock ’n’ roll, nor was it post modern. It is a jazz based entity, and jazz is not supposed to be popular in the US. Europe, though, was very accepting of our sound from the beginning. It took us about six years to really gain Americans’ acceptance.

How has the musical direction of the group changed over the years? 
We have gone back and forth doing more jazz inspired albums, to more pop inspired albums. And then sometimes, we do combinations of both.

Is there any album that is particularly memorable?
Yes, our Vocalese album. It is our most critically-acclaimed CD. It is the third most Grammy nominated album of all time, having earned 12 nominations and won two Grammys.

Your latest offering Vibrate is marked by a mix of traditional and progressive jazz, and has elements of Latin, world and pop music. Any plans to attempt other musical genres in future works?
Not at this time. We don’t bring in these influences or varied genres for their own sakes. It really depends on what inspires each individual at a particular point in time.

We are amazed at the group’s versatile sound. How do you people maintain your voices? 
We warm up for 30 minutes before each concert. It’s like working out at the gym.

Who are the group’s influences?
We like the Swing vocal groups of the ’30s like the Spirits of Rhythm, 4 Vagabonds and Ink Spots. The four part harmony groups of the Big Band Era, such as the Modernaires, Pied Pipers and Delta Rhythm Boys, and the R&B vocal groups of the ’50s like the Moonglows and the Flamingos are some of our influences too. And of course, there’s King Pleasure and Eddie Jefferson. These are just a few.

What can we look forward to in your upcoming concert?
We try and do a reasonable representation of our many albums and CDs. We like to combine our earlier songs with our more recent material. We also like to do a cross-section of our jazz, and pop material.

Do you have anything to say to your loyal fans that have supported you all these years?
We are very grateful for the support you have given us. We will still continue to work hard to entertain you, and to try and give you the best of what we can do.

Jazz has become ubiquitous in Bangkok. Almost as predictable that a youth-oriented place, say a club in RCA, is going to play hip-hop or house, it’s an equally safe bet that an establishment targeted at more mature customers, say a new hotel bar, is going to play jazz.

Now here’s a novel idea: a jazz bar in RCA.

Jazz It (21/39-40 Royal City Avenue, Block C) is a new venue located directly across the street from Route 66 in the pedestrian walkway behind Re-Feel. But before you abandon another lackluster FHM bikini show at Route in search of the hip cat sounds of Thelonious Monk, you should be warned: Jazz It may have been given the wrong name—but then misleading nomenclatures are all the rage these days (think Khao San on Thonglor and Thonglor Samosorn in RCA). Instead expect the bunctious grooves of the Black Eyed Peas and their kin.

About a third of the floorspace has been devoted to a large stage, flanked by heavy velvet curtains bathed in violet light. The stage easily accommodates the Maria Band, a six-piece outfit that plays nightly (9:45-11pm). Playing everything from Aerosmith to hip-pop favorites, this able act with two sweet-voiced singers gel like bread and butter. And these guys can actually harmonize. After the band finishes its set, the place gets considerably more upbeat (and louder) with the arrival of DJ Magic Muffin and her bag o’ house.

Black metallic tables with stiletto-thin legs and chairs populate the audience area. In the back of the club is a black light billiards table (B30/game), which surely can’t be good for your eyes (but it’s a cool idea nonetheless). Behind it is a funny wall that looks like it’s covered in Astroturf. (It’s plastic ivy.) Drinks come at predictable prices (Heineken B140, JW Red Label 750ml B1,300, JW Black Label B1,900, mixers B50). If you’re looking for something a little different, try a refreshing margarita (B150, virgin B100) made with real fruit.

Jazz It is a strange animal, but the feel of it makes it stand out in RCA. However, where “following the crowd” seems to be an unspoken rule, Jazz It’s obscure location may prove fatal. Hopefully for their sake the good name and killer drink promotion they’re now running will help Jazz It find the audience they deserve.