Marsha Bartenetti delivers a timeless message with "You Gotta Be"

Lyrical Odyssey Music
November 26, 2025

Marsha Bartenetti returns with her signature style, delivering a soulful jazz version of "You Gotta Be" that offers a new and moving take on the beloved 1994 song. She makes the original new by creating a version that seems bright, modern, and emotionally grounded.

Her performance shows the warmth and texture that have always been a part of her work. With a modern jazz piece by producer and arranger Dori Amarilio, the song takes you to a place where strength, courage, and honesty are the most essential qualities. Marsha's connection to the message sets this version apart, and her voice shows that she understands strength deeply because she has lived through it.

The arrangement captures the subtleties of jazz, which makes the song resonate, and it is both modern and classic, new and old. The musicians who play with her are excellent, adding subtle touches and dynamic interplay that enhance her voice without overpowering it. This balance makes the listening experience smooth and very interesting.

Marsha's version of "You Gotta Be" gives the song's message of empowerment a new meaning for today's audience. This is a reminder that strength can be soft, bravery can be quiet, and love is the force that keeps us going through all of life's challenges. This is a new beginning, and a beautiful and thoughtful new take on the original that stands out and has its own unique quality.

Marsha Bartenetti brings grace and emotional clarity to her soul-stirring new single, “You Gotta Be”

Honk Magazine

Marsha Bartenetti is back in the spotlight with “You Gotta Be.” Her performance is full of honesty, emotional depth, and interpretive skill, and her signature warmth and expressive vocal depth are on full display. Bartenetti is known for her ability to cross genres in search of a meaningful lyric. In this performance, she sings as if she has lived each phrase and line with care and intention.

“You Gotta Be” is a successful hit due to her ability to genuinely connect with audiences. Her voice doesn’t just sing melodies; it also moves feelings, turning complicated emotions into something very human and obvious. The strength of the single is that she puts her heart into every vowel, which makes them sound both soft and strong. Bartenetti’s voice is smooth but strong, and it makes even the quietest parts of the song feel important and resonant.

This interpretation feels like it was made to be comfortable and never goes too far into cliche. The way she talks makes it sound like a conversation, soft, reassuring, and based on truth. She understands that vulnerability and strength are linked and that a lyric only works when the artist is brave enough to fully enter it. Bartenetti does just that, bringing every feeling to life with a maturity that is calming, grounded, and refreshingly honest.

The production provides her storytelling room to breathe and supports her voice without taking away from the emotional impact. This openness makes the song’s purpose even clearer: to speak directly to the heart, remind people of their strength, and afford them a moment of clarity in a world that often feels too full. It’s a performance that is based on skill but comes from the heart.

“You Gotta Be” is a wonderful example of Marsha Bartenetti’s artistic style. It’s not just her range and tone that make her unique; it’s also her ability to impart each lyric a sense of lived experience. She sings like someone who cares about stories, who respects the emotional structure of a song, and who sees music as a way to connect people. Portable speakers

In a world where people are often distracted by noise and speed, Bartenetti offers something quieter and deeper: a reminder that truth, spoken from the heart, still has the most impact. “You Gotta Be” is a poignant and enduring song, unmistakably hers. It is an expressive piece that shows she is an artist who sings from the heart.

Marsha Bartenetti - Love Will Save The Day

Catalina Jazz Club, Los Angeles, CA, May 22, 2025
Reviewed by Mary Bogue
May 27, 2025

It was an evening of grace and resonance. When the night calls for elegance, jazz, and heartfelt cabaret, Los Angeles audiences know to turn to Marsha Bartenetti. Her show Love Will Save the Day was a shining example of why she remains one of LA’s most beloved vocalists. Accompanied by a world-class band and guided by the golden thread of grace, Bartenetti delivered a performance that was both musically masterful and emotionally stirring.

The show opened with the electrifying “Orange Colored Sky” (Milton Delugg/Willie Stein), in which Bartenetti’s nimble timing and control met the song’s vibrant energy head-on. It was an opening that instantly commanded the room, setting the tone for a night rich in variety and vocal finesse. She seamlessly shifted gears with “Them There Eyes” (Maceo Pinkard/Doris Tauber/William Tracey), a sultry nod to the 1930s made famous by Billie Holiday. Here, she let her inner vixen shine—a playful, knowing presence that felt completely natural.

She then moved forward in time to deliver a powerful rendition of Sting’s 1987 classic “Fragile,” accompanied by guitarist Dori Amarillio’s delicate playing and the band’s lush background vocals that enriched the moment. With Steve Rawlins as music director on piano, Rocky Davis on digital keyboard, Robert Kyle on saxophone, Jennifer Latham on bass, and Gordon Peeke on drums, her band provided the kind of musical sensitivity that elevated every note. The lyric “That nothing comes from violence and nothing ever could” seemed achingly timely, a reminder of both the power and the fragility of the human spirit. This poignant performance, also featured on her CD I Believe in Love, anchored the show’s emotional core.

Bartenetti then showed her vocal versatility with the spirited “I’m a Woman” (Jerry Lieber/Mike Stoller), that segued easily into the smoldering “Why Don’t You Do Right” (Joe McCoy/Peggy Lee). Her phrasing—always confident, sassy, and playful—brought new life to these well-loved standards. She followed with a soaring take on Burt Bacharach and Hal David’s “Anyone Who Has a Heart,” which showcased her ability to navigate complex emotional terrain while keeping her audience utterly engaged.

A special highlight came when guest vocalist Gino Gaudio came on stage to deliver a heartfelt, Italian-language rendition of “Come Back to Sorrento” (Ernesto deCurtis/Giambattista DeCurtis), that offered a moment of cultural depth and nostalgic beauty.

Bartenetti’s jazz chops were further evident in “I Could Get Used to This,” the clever and catchy lyrics by Mark Winkler set to Wes Montgomery’s classic “Bumpin’.” It was one of the night’s swinging standouts.

In the show’s final act, Bartenetti connected past and present by singing along with a video to the Kansas classic “Dust in the Wind” (Kerry Livgren), followed by a moving performance of Leonard Cohen’s “Hallelujah.” She closed the show with Abbey Lincoln’s “Throw It Away,” which earned a standing ovation. It was a fitting end to a night that reminded everyone in attendance that love—through music—really can see you through.

Marsha Bartenetti is more than a vocalist. She is a storyteller, a time-traveler, and a gracious hostess of the vulnerable heart. Her voice lingers long after the final note and invites you to revisit her recordings and relive the warmth she so effortlessly brings to the stage.

Dulaxi

Dear Marsha Bartenetti,

I recently had the privilege of listening to your song, I Could Get Used to This, and I felt compelled to share my admiration for it. The way the song starts with a smooth vibe is simply enchanting. It sets a relaxing tone that immediately draws the listener in, creating an atmosphere that feels both intimate and inviting. Your calm and effortless singing adds so much warmth and charm, making it a truly memorable listening experience. I also want to commend the instrumental arrangement—it’s stunning! The production is flawless, with each element blending perfectly to create a rich, textured sound. The music carries a timeless quality, and the overall vibe of the track gives off such a beautiful jazz essence that I couldn’t help but be drawn into its sophistication and elegance. Listening to I Could Get Used to This was an absolute pleasure. It’s a song that not only showcases your incredible vocal talent but also leaves a lasting impression with its artistry and emotional depth. Thank you for sharing such an exquisite piece of work. I look forward to hearing more of your music in the future!

The Concert Chronicles

Marsha Bartenetti’s new single, “I Could Get Used To This (Bumpin’),” offers a sophisticated blend of smooth jazz, soulful delivery, and heartfelt interpretation, setting the stage for her upcoming 2025 EP. With lyrics written by Mark Winkler and Shelley Nyman paired with Wes Montgomery’s timeless composition, the track carries an emotional and nostalgic weight while showcasing Bartenetti’s ability to connect deeply with her audience.

The song opens with an elegant and inviting interplay between Kevin Madill’s piano and Pat Bergeson’s warm guitar lines, recorded at Ocean Way Studios in Nashville. The rhythm section, led by Marcus Finnie on drums and Danny O’Lannerghty on bass, creates a rich foundation of groove that complements the track’s smooth jazz roots.

Overdubs recorded in Los Angeles add an extra layer of texture. Brian Scanlon’s saxophone introduced a sultry, melodic element, while Stephan Oberhoff’s Hammond B3 organ and flugelhorn samples evoke a sense of timelessness. These instrumental layers create an inviting and lush sonic landscape that perfectly frames Bartenetti’s vocals.

Marsha Bartenetti’s vocal performance is the centerpiece of the track. Her voice, smooth and expressive, brings life to the lyrics with emotional authenticity and nuance. She effortlessly shifts between tender phrasing and commanding presence, drawing listeners into the story. The lyrics, penned by Winkler and Nyman, weave a narrative of newfound joy and optimism, reflecting on the excitement of embracing a fulfilling connection.

One of the most compelling aspects of Bartenetti’s vocal delivery is her ability to express depth and subtlety. Every word feels purposeful, embodying the theme of contentment and possibility suggested by the song’s title.

The emotional resonance of “I Could Get Used To This” lies in its universal relatability. The song captures the essence of feeling comfortable and uplifted by someone or something new, a sentiment that resonates deeply with audiences across generations. Bartenetti’s interpretation amplifies this, turning the track into more than just a jazz piece—it becomes an intimate conversation.

The production, co-led by Donny Marrow and Stephan Oberhoff, is polished and balanced, showcasing each instrument without overpowering the vocals. The combination of Nashville’s live feel and Los Angeles’ layered refinements results in a seamless blend of organic warmth and modern sophistication.

Marsha Bartenetti’s rendition of “I Could Get Used To This” is a testament to her artistry and her ability to bridge the gap between technical mastery and emotional connection. The track’s jazz foundation, combined with her interpretive storytelling, makes it a standout piece that promises to captivate fans and newcomers alike.

As the first release from her upcoming EP, the single sets a high bar for what’s to come, cementing Bartenetti’s place as a seasoned artist with a timeless appeal. Whether you’re a jazz enthusiast or someone seeking music with depth and elegance, this song is a must-listen.

Fans of smooth jazz, vocal jazz, and heartfelt performances will find “I Could Get Used To This” a compelling addition to their playlists. With its expertly crafted arrangement and Bartenetti’s emotive delivery, the track invites multiple listens and leaves listeners eagerly anticipating her 2025 EP.

Marsha Bartenetti - I Believe in Love

Herb Alpert’s Vibrato Grill Jazz, Los Angeles, CA, November 13, 2019
Reviewed by Les Traub for Cabaret Scenes

Sometimes getting and keeping an audience’s attention at Herb Alpert’s Vibrato Grill Jazz can be a challenge, especially when the club is packed. But Marsha Bartenetti did not have that problem with her sold-out house for her debut there celebrating her new CD, I Believe in Love. With a repertoire that mixed standards with contemporary material featuring a variety of arrangement styles, Bartenetti connected with the crowd from the onset and never lost that connection.

She opened with an upbeat “Orange Colored Sky” (Milton DeLugg/Willie Stein) that raised the energy level in the room. Nominally following the CD’s theme of the various stages of love, Bartenetti kept the patter to a minimum, with brief introductions to the songs and added a little bit about her own background. With a sextet of top-flight jazz musicians behind her, including Steve Rawlins on piano, Robert Kyle on sax (with some brilliant solos) and arranger extraordinaire Stephan Oberhoff on keyboards she could let loose and swing and yet shift to a sensitive reading on ballads. Particularly moving was her slow take on “You Go to My Head” (Fred Coots/Haven Gillespie). She introduced it by asking the audience to pay attention to Gillespie’s lyrics. She herself had obviously done just that, as she brought a freshness to that often-heard song, as she also did with “It Had to Be You” (Isham Jones/Gus Kahn).

Contemporary standouts included Sting’s “Fragile,” with Bartenetti movingly conveying the song’s very relevant message, and the Bonnie Raitt hit “I Can’t Make You Love Me” (Mike Reid/Allen Shamblin), which demonstrated her comfort level in the country genre. A hauntingly beautiful “Alfie” (Burt Bacharach/Hal David) (with its phrase “I believe in love” giving title to the show and CD) closed the show.

Her voice fit very naturally in whatever genre she was singing. An easy rapport with the audience and a bright, confident stage presence made for a thoroughly engaging show.

Marsha Bartenetti - I Believe In Love

Reviewed by Scott Yannow

A talented and adaptable singer who has a beautiful voice, Marsha Bartenetti has sung in several styles throughout her career including pop and r&b, and she spent a long period focused on jingles and voiceover work. Fortunately she began recording jazz-inspired albums seven years ago; I Believe In Love is her fourth CD as a leader.

I Believe In Love is dominated by love songs that cover a variety of moods and themes. The personnel and instrumentation changes from song-to-song with the key sidemen including Stephan Oberhoff (who supplied some of the arrangements, plays guitar on two numbers, keyboards on one, and all of the instruments on “Alfie” and an inspired version of “Spring Can Really Hang You Up The Most”), Robert Kyle whose soprano is an asset on two numbers, pianist Kevin Madill, and guitarist Pat Bergeson.

Ms. Bartenetti’s versatility and comfort in different settings is very evident on such numbers as “Fragile,” “I Got It Bad,” a country-flavored “Will You Still Love Me Tomorrow,” “The Very Thought Of You” and Abbey Lincoln’s “Throw It Away.” She gives plenty of warmth to the ballads, adds a light swing to each performance, and really digs deep into the meanings behind the lyrics.

The results are quite delightful. I Believe In Love is a fine effort that is available from www.marshabartenetti.com.

Marsha Bartenetti - Feels Like Love

Feinstein’s at the Nikko, San Francisco, CA,
April 27, 2017
Reviewed by Steve Murray for Cabaret Scenes

“I’m sorry, that’s not a valid password. Please try your call again later.” That voice you hear just may be Marsha Bartenetti, who segued from a successful singing career (she won the 1980 Best Vocalist in the American Songwriters Association’s International) to the lucrative voiceover market. She was deemed by the press as “The Voice America Loves to Hate” and “The Voice Mail Queen.” She’s solidly back on track with the release of her latest CD …feels like LOVE, which she featured during her Feinstein’s debut.

Bringing along friend and Musical Director Steve Rawlins, Bartenetti’s repertoire includes well-known chestnuts from the Great American Songbook as well as a few modern composers and lyricists. Her arrangements blend in jazz stylings and a pop sensibility that makes for easy listening with her clean, clear phrasing. Examining all facets of love, her set included the hopeful phase with a slow, longing “You Go to My Head” (J. Fred Coots/Haven Gillespie), the betrayal of Elisse Boyd and Murray Grand’s powerful “Guess Who I Saw Today,” to Arthur Hamilton’s “Cry Me a River.”

The complement of locals David Rokeach on drums, Mike Bordelon on bass, and Danny Brown sax, added to the richness of the sound. Bartenetti related emotionally on Elton John and Bernie Taupin’s “Sorry Seems to Be the Hardest Word,” and Leonard Cohen’s “Hallelujah,” and these would be her finest vocal deliveries. “Orange Colored Sky,” written by Milton DeLugg and Willie Stein and recorded by Nat King Cole, shows Bartenetti can swing, as does her rendition of Peggy Lee and Dave Cavanaugh’s (with the pen name William Schluger) “I Love Being Here with You.”

Hitting all the bases from swing to light jazz, Bartenetti shines when she makes strong connections to a song. She saved the best for last, closing with the lovely Jimmy Van Heusen/Johnny Burke “But Beautiful,” offering it as a love note to her audience. A classy touch from a real pro.

Marsha Bartenetti - I Believe in Love

Reviewed by Chris Spector for Midwest Record

Coming back to being a vocalist after a great run as voice over talent, she seems to have resumed her career in fine style and with a special grace for someone that started this escapade in the 60s. A skilled vocalist that has an understanding of music from the last 80 years, she delivers so intimately that it’s easy to enjoy this set by sitting back, closing your eyes and letting her program do it’s thing. While many of these tunes are overly familiar, she serves them up in a way that doesn’t find them wearing out their welcome or feeling reheated. A real treat for vocal music fans

Marsha Bartenetti - When I Fall In Love

Tom Rolla’s Gardenia, West Hollywood, CA, April 30, 2016
Reviewed by Elliot Zwiebach for Cabaret Scenes
May 2, 2016

Marsha Bartenetti is an evocative singer with a smooth, silky voice and the ability to charm an audience with her easy-going manner and on-point delivery.

In a show about the vicissitudes of love, she was particularly effective on tender ballads, offering a gentle, thoughtful “You Go to My Head” a sweet, measured, believable “I Can’t Make You Love Me” and a simple, lovely “As Time Goes By”

But she was also totally in control on up-tempos, with an effective, effortless arrangement of “Them There Eyes” and an enthusiastic “I Love Being Here with You” that demonstrated her utter joy in singing.

Bartenetti got tremendous support throughout the evening on piano from Musical Director Steve Rawlins, whose excellent arrangements gave the singer plenty of room to showcase her voice.

In a fast-moving show with succinct, effective patter, Bartenetti moved through the various stages of love, from a coquettish “When I Fall in Love” to a reflective “Ten Cents a Dance” to a solid, sultry “Will You Love Me Tomorrow?” to a warm version of “Orange Colored Sky”

There was also a definitive version of “I’ve Never Been to Me” which Bartenetti acknowledged she recorded right before another version by singer Charlene became a number 1 hit.

She closed the show by directing a love letter to the audience in general and her husband specifically — a soft, sultry “But Beautiful” that was … beautiful, no buts about it.

The Serendipity of Singer Marsha Bartenetti

Reviewed by Jane Huson for L'Italio Americano
July 11, 2014.

She’s back! Cherished for her smooth, expressive voice, Marsha Bartenetti will return to sing at the Catalina Jazz Club in Hollywood on Thursday, July 10, with her Gentlemen of Jazz.

Marsha did not achieve success in the music industry the typical way. Pure serendipity and her beautiful voice guided her inspirational journey from San Francisco to Los Angeles.

Marsha began her fascinating career in the vibrant music scene of San Francisco during the 1960’s and 1970’s. She performed with her then-husband Alan Graham. Together, they played at venues like the Troubadour in Los Angeles.

In 1980, Marsha won the “Best Vocalist” award at the American Songwriters Association’s International Contest: the “American Idol” of its time. They brought her to Los Angeles to record songs for Motown. She was working alongside writers Ron Miller and Kenny Hirsch, who wrote “Touch Me in the Morning” by Diana Ross and “For Once in My Life” by Stevie Wonder.

Marsha left the music scene shortly thereafter due to disillusionment with the industry. She recalls, “I left the music business, and I was a single mom. I had to raise a family, but I had never done anything except have a microphone in my hand.” Accustomed to the microphone, she began singing commercial jingles for Bank of America and Chevron, among others.

While she was in the studio, serendipity struck when she participated in a voiceover workshop. She was recruited to do voice-overs and on-camera acting for Safeway and Vons commercials.

The 1990’s introduced another serendipity for Marsha: the voicemail. Well-liked for her smooth voice, she began recording messages for the largest international voice messaging company.

Marsha unwittingly received a lot of fame and recognition from the press coining her as “the voice-mail queen” and “the voice America loves to hate”, among other catchy sound bites. She appeared on the Today Show as the “person behind the telephone voice”.

She describes herself as the “siri voice of the 90s”, known for phrases like “Are you still there?” and “You have four new messages”. Marsha attended conferences where people would line up for her autograph. She recounts, “That was quite interesting for me to be known as this disembodied voice when for years I had been trying to make it in the music business as a singer. It made me laugh.”

Being a digital star was not what Marsha had envisioned, but it paid the bills. She longed to sing. “There came a time when I just knew I had to sing. The voice is unlike any other instrument because it is directly connected to the heart. It comes through your breath, and all of your emotions and life experiences are attached to it,” Marsha describes.

Years later, Marsha serendipitously re-connected a former band mate Donny Marrow of Disk Eyes Productions. He invited her to come to Nashville for 6 weeks to record a CD.

Wanting to perform live again, Marsha travelled to Nashville with Donny to record some songs. “I went to that microphone, and I was home. I felt my heart expand, like I’m doing exactly what I’m supposed to be doing.”

The CD is called “It’s Time”, featuring songs such as the emotive “Good Morning Heartbreak” and “Someone to Watch Over Me”. Marsha crosses musical genres, from Billie Holiday to Bonnie Raitt, and she brings truth to every lyric. “It’s Time” marks the opening of her next act.

Serendipity struck again when a drummer she met at a restaurant helped her assemble a group of jazz musicians to play with her. With Ricky Woodard on Sax, who has played with the Ray Charles Band, Llew Matthews as the musical director and on piano, Mike Gurrola on bass, and Kenny Dennis on the drums, Marsha and her Gentlemen of Jazz have been a hit in Los Angeles.

Marsha’s singing is greatly influenced by her Italian identity. She expands, “To me, being Italian means saying yes to life and knowing that it will support you, whatever you decide to do. I love the gusto and following the joy of life through music, art, and family. I have an Italian heart. I’ve had one my whole life.” She married Phillip Bartenetti, and the two are active figures in the Italian American Community.

Phillip Bartenetti is the past president of the Italian American Chamber of Commerce in LA and the Federated Italo-Americans of Southern California. Marsha and Phillip have worked on many projects downtown with Marcella Leonetti-Tyler, regional vice president for the National Italian American Foundation (NIAF).

Marsha got a taste of singing for Italian audiences when she visited Taormina, Sicily recently. She performed in the lounge of the beautiful San Domenico Palace Hotel, famous for being an ancient monastery. Marsha’s dream is to sing alongside Andrea Bocelli and to sing again in Italy.

Through her CD “It’s Time” and her live performances at venues such as the Catalina Jazz Club and Vitello’s, Marsha’s serendipitous success becomes our musical delight. Welcome back, Marsha, it’s certainly time!

Marsha Bartenetti - It's Time

Reviewed by Dan Singer for Singer's Singer

Marsha Bartenetti is thoroughly enchanting on her 2014 program of ten songs. Starting with “Good Morning Heartache” (Drake/Higginbotham) with a seven piece string section plus an additional cello and viola. She’s truly a fine singer to marvel at.

In a bittersweet rendition “Someone To Watch Over Me” (Gershwins) features the delightful verse. I really appreciated hearing the addition of Ove Hanson’s shining English horn solo. Marsha continues with a thoughtful and outstanding vocal on “When I Fall In Love” (Heyman/Young). Ms. Bartenetti with her dramatic reading of “Over The Rainbow” (Arlen/Harburg) was a delight. Eugene Ben, her pianist, and Jerry Cortez, electric guitar, are marvelously showcased throughout. “As Time Goes By” (Hupfield) has a sensational seven piece violin string section along with 3 additional cellos backing her up superbly.

The combination is a bright and shining example of just what wonderful special care can do for this all too familiar song. On it Marsha sounds most appealing and fresh. “Baby It’s Cold Outside” (Loesser) is presented as an unusual slow duet with Teddy Jo Politzer and featuring Marsha’s fine trio.