Fever, Friends, and Finals Season: Mariana Hernández Reimagines Jazz Standards for Her Pre-Thesis Show

Originally published on Sound Spectrum Magazine

Bogotá, Colombia — What began as a slightly delayed, nerve-filled soundcheck turned into an emotional, musically rich night at Mr Bum Audiobar in Bogotá’s Usaquén district on 27 May. Vocal jazz took centre stage as Mariana Hernández—supported by a full band and a stunning nine-woman vocal ensemble—delivered a pre-thesis concert that was equal parts workshop, showcase, and celebration.

Billed to begin at 7:30pm, the performance didn’t officially start until 8:15, following a frazzled soundcheck during which Mariana, clearly under pressure, was nebulising throughout. Given that this show was a trial run for her upcoming university thesis presentation on 22 June, the nerves were understandable. The evening’s concept? To present original vocal arrangements of jazz standards in choral form—a rare and technically demanding feat within the genre.

Mr Bum Audiobar, with its dark wood accents, dim lighting, and smoky warmth, is a haven for music lovers. Tucked away in the cultural hub of Usaquén, the venue is intimate—almost too intimate for the size of Mariana’s ensemble. While the acoustics suited the performance well (no microphones were needed for the chorus), the tight layout made movement tricky. With narrow entrances and cramped walkways, the venue is not particularly accessible for disabled guests. It also seemed unprepared for a group of this scale—there wasn’t enough food available for everyone, and the budget clearly had limits.

The entry cover was 35,000 COP (around £7 or €8), which felt a bit steep considering the venue’s constraints. Still, Mr Bum has its charms. Outside the main restaurant area, they sell vinyl records, cassettes, turntables, and tobacco— lending the place a creative, analogue spirit that pairs well with its jazzy atmosphere.

Everyone on stage wore black, underscoring the serious, academic tone of the project. The backing band—men on piano, guitar, bass, and drums—provided tasteful, restrained support. But the real spotlight belonged to the vocal ensemble: nine women, including Mariana herself, whose harmonies floated effortlessly through the room.

They opened with a showstopper: ‘Everybody Wants to Be a Cat’, originally written by Floyd Huddleston and Al Rinker for The Aristocats (1970), famously performed by Scatman Crothers. Mariana’s arrangement began as a silky a cappella number before bursting into full-band swing. The interpretation was elegant, playful, and vocally tight—an instant mood-setter.

Next came ‘Fever’, a sultry number written by Eddie Cooley and Otis Blackwell (under the pseudonym John Davenport). First made famous by Little Willie John and later immortalised by Peggy Lee, it’s a cornerstone of the vocal jazz canon. Mariana called her version “sexier” and “a bit simpler”, allowing room for instrumental solos and proving that restraint can be just as expressive as complexity.

‘East of the Sun (and West of the Moon)’, composed by Brooks Bowman in 1934, is a beloved jazz standard covered by artists from Frank Sinatra to Diana Krall. Mariana introduced it as the song that inspired her to study music—part of the notoriously challenging “Tillman list” at her university—and dedicated it to the friends who’ve been with her since the beginning. One of them, Natalia, took the solo. Mariana also shared that her 18-year-old sister, Manuela, helped her craft the vocalise, adding another layer of intimacy.

The ensemble then took on ‘Four’ by Miles Davis—a bebop classic with fast-moving changes and room for improvisation. Two other singers stepped forward for solos, their phrases flowing naturally in and out of the ensemble. It was one of the night’s most technically dazzling moments.

The emotional high point came with ‘You Must Believe in Spring’, composed by Michel Legrand with lyrics by Alan and Marilyn Bergman. Originally recorded by Tony Bennett and Bill Evans, it’s a melancholic ballad with a quiet, lingering power. Performed by Mariana and the pianist alone, the piece served as a personal “comeback”—a re-do of her final college vocal exam, where she felt it hadn’t gone to plan. This time, it landed softly and beautifully, and the audience felt it.

Throughout the night, ensemble members shared memories of working with Mariana, adding a personal, communal feel to the already intimate setting. Though several songs are being saved for the formal thesis presentation, the audience’s enthusiasm prompted a joyful encore of ‘Everybody Wants to Be a Cat’.

Cheers and applause rang out as the show wrapped at 9pm. One especially moving moment followed: the father of one ensemble member stepped forward to hug Mariana, visibly touched by the performance.

Instead of disappearing backstage, Mariana did something rare—she made her way to each table, chatting with guests and listening to their feedback. It was a generous, genuine gesture that summed up the evening perfectly: thoughtful, collaborative, and full of heart.

Fun fact: every vocal arrangement performed—including the scatting solos—was written by Mariana herself over the course of just five to six months. That alone is impressive. And she did it all while fighting off a cold.

About the artist

Mariana Hernández is a Colombian vocalist specialising in jazz. With over a decade of musical training, she is currently completing her bachelor’s degree in music at Universidad Javeriana in Bogotá.

Her career highlights include performing for Pope Francis during his 2017 visit to Colombia, representing the country at the Festival Canta al Mar in Spain, and appearing twice at Teatro Colón de Bogotá with lyrical choirs—once as a featured soloist.

Her work has drawn praise from international artists such as Sofia Ribeiro, Lizzy McAlpine, and Juan Luis Guerra. She is set to graduate this autumn.