Once upon a time dreams did come true and occasionally they still do. So it was for "Gabriela Anders," whose unsolicited tape eventually led to her signing with the Warner label and her debut album, "Wanting."

Gabriela is from a family of talented musicians including her father, jazz saxophonist, Jorge Anders. Born in Argentina, she studied classical guitar, piano, and music at a conservatory in Buenos Aires. She grew up strongly influenced by Brazilian music and her dad, whose band rehearsals and concerts she attended. At fourteen she began performing, and visited her father in New York, where she was exposed to the jazz greats - Stan Getz, John Coltrane and Miles Davis. "I heard the way they played. When I sing, in a way, I'm trying to reflect that instrumental phrasing that I thought was really cool. I was always transcribing solos."

After graduating high school, she decided to continue her musical studies in New York, and studied under Don Sebesky. At the same time, she began singing in clubs and doing studio work, and was soon in demand, singing with people like Grover Washington, Marc Anthony and Tito Fuentes. It was during this time, in '95, that she sent that unsolicited tape to Warner Bros. Jazz that ended up in Matt Pierson's hands. Matt liked what he heard, and wrote encouraging her to send more. Meanwhile, Gabriela returned to Argentina shortly thereafter, and so it ended for the moment.

Gabriela returned to New York, and made an album "Fantasia," that was released in Japan. At the same time she was invited to do a duet with Michael Franks, who, along with Artie Traum, encouraged her to once again send her music to Warner Jazz. She did, this time landing in the hands of Dana Watson (Director, A&R). Dana shared his find with Matt Pierson, who remembered her from her earlier tape. With a larger repertoire of songs, and a live performance, Gabriela was quickly signed to the Warner Jazz label.

AMZ spoke with Gabriela and this interview will be added shortly. -----------------------------------------------------------------------------

For most of us it only takes one name to draw up a picture of most popular female singers - Madonna, Janis, Basia, Sade. Add to the list "Gabriela," for certainly she shall become as familiar to many of you as all of the aforementioned. This lady has a voice and talent that won't be denied, and her debut album is full of music to delight your musical palate.

"The Fire Of Love" will be lit within you when Gabriela's sultry heat passes through your ears as she matches "Rick Braun's" trumpet play on this opening cut. Her latin scat promises a night of passion as you listen to the rest of the album. A cover of the classic "Girl From Ipanema" is filled with the feeling of unrequited love and regret, a slow and different approach to this timeless song.

The title cut, which will be the second single of the album ("Fire of Love" is the first), is another of the ten songs Gabriela wrote, and it won't take long for most folks to be comparing her vocal style to "Sade" - as a number of reviewers have already done. Gabriela's voice is a bit sweeter than "Sade's," but not as strong as "Basia," substituting a latin charm for the forcefulness of the latter. Kirk Whalum 's saxophone play gives her another great opportunity to use her voice as an instrument in tandem with Kirk. Her duet with "Eric Benet" on "Forever" is a lovers rhapsody, in which both have equal parts, and play off each other beautifully.

The other cover on this album is the Roberta Flack tune, "You Know What It's Like," which is suggestively sexy as Gabriela sings with a barely bridled passion. The next song, "Seven Days," is the only cut that doesn't hit quite right, being a little bit too jaunty in it's orchestration for the subject matter of missing someone.

After "Seven Days it's "Just An Hour" before she will see her lover, only to say good-bye once again. The orchestration here is more piquant and in keeping with the tone of the lyrics. Gabriela's voice contains just the right note of wistful longing and regret, setting the mood with her vocals.

The only song completely in Spanish, "Fantasia," is one I can only imagine it's meaning by the way in which it's sung - which is dreamlike, wishing and hoping. "I'll Be Loving You" pairs Gabriela with guest saxophonist "Boney James," and contains another long scat, which is as good as it is different from someone like "Etta James."

The next cut is my personal favorite, "Love Is So Unkind," and has a different flavor to it. The abrupt ending is the unkindest cut of all. "Feels So Good" aptly describes my feeling as this album draws to a close, as if Gabriela and I were here alone, with her singing just for me. Finally the end comes with "Brasiliera" a pure scat number that allows Gabriela to be the lead instrumentalist, playing on her personal vocal keyboard.

I'm glad I've finished this review so I can sit back and just simply enjoy a moment alone with Gabriela. I've been "wanting" since I first put her album in the player. The nice thing is that though it's "Just One Hour," you don't have to say goodbye.