KT Sullivan
Two things stand out after this 34th Annual Convention: Jazz has made a firm inroad and young people with old souls are pursuing the craft with preternatural talent. Welcoming us, KT Sullivan, artistic director of The Mabel Mercer Foundation since 2012, assumes the piano bench for a heartfelt “Hello, Young Lovers,” a song so true to her experience she might’ve written it. Highlights of the evening:
Anais Reno; Diva LaMarr
Anais Reno, past winner of The Julie Wilson Award, begins “Lover Man” with lengthy a capella, a successful risk. Soft bass, brushes and agile guitar create elevated melancholy. Reno kneads the notes. A tandem “Rose’s Turn” and “Broadway Baby” arrive by way of the glamorous, Diva La Marr. She is, as they say, full of beans; self possessed and flirty. “Here she is world! Here she is, boys!” Klea Blackhurst’s “Satan’s Little Lamb” expansively conjures a revival meeting, albeit to a burlesque beat. “It’s glory, glory, while I’m livin’…” Hallelujah sisters and brothers! A melodic imperative.
Billy Stritch, Rick Meadows, Klea Blackhurst (Steve Doyle-bass; Ray Marchica -drums)
Blackhurst then presents The Donald Smith Award – endowed by Adela and Larry Elow – to longtime buddy, Billy Stritch “…a renaissance man of limitless musical and other talents.” (Quote from the award.) Smith was the performer’s first press agent in 1988. (Montgomery, Plant and Stritch) He’s come full circle. “Now I’m gonna sing for my supper,” Stritch quips launching into a medley from Singin’ in the Rain. It’s happy, innocent, fun; a treat.
Carole J. Bufford; Lincoln Johnson
Carole J. Bufford undulates across the stage with sinew and sass. Subtext being her middle name, a terrific honky-tonk arrangement of “Put the Blame on Mame” is made to order. She blazes. (Ian Herman –MD) Winner of this year’s Jim and Elizabeth Sullivan Competition, Lincoln Johnson (aka the man in the red suit) has the face of a Raphael angel. His rendition of “If” meticulously, tenderly floats.
Barbara Fasano and Eric Comstock; Todd Murray
Eric Comstock’s “Mam’selle” is old school, black-and-white-film romantic and, in fact, was written in Century City. The artist is hushed and earnest. “In the Still of the Night” is elegantly performed by
Barbara Fasano who appears to be lit from within. The couple then flip to jazz rendering a hap, hap, happy “As Long As I Live.” Panache lives. Speaking of which, Todd Murray charmingly describes the
origin of “Stardust” followed by a version that wraps us in vocal sable. This is when we realize how cold it is outside.
Filo Sophia; Josephine Sanges
Filo Sofia begins “A Day in the Life of a Fool” in shushed Portuguese. Piano is caressed. Lyric emerges like a tuneful stage whisper. A dissonant jazz piano parenthesis yanks us out. The vocalist draws us back with airbrushed moonlight. Ultimately lovely. Josephine Sanges offers an unconditional “My Man” from her estimable Fanny Brice show. The performer’s unleashing of longing can make one dizzy. (John Cook-MD)
Also featuring Brian Eng whose “Change Partners” arrives without romance or his own stamp; Lianne Marie Dobbs’ delivering a clarion “You’re Gonna Hear From Me” (MD-Ron Abel); Ben Jones with a fast, stop, slow, fast, stop arrangement of “The Best is Yet To Come” that feels gimmicky. (Ron Abel-MD); Nicole Zuraitis expressively singing “If Ever I Would Leave You” with piano on a different plane (her own arrangement?) The organic jazz phrasing (and scat) of Jonathan Karrant who has a Las Vegas feel and oddly smiles throughout. (Nifty bass.)
“I Know a Miracle Will Happen One Day,” a song written from prison during Hitler Germany, is performed by Olivia Stevens in English and German, some of which is unintelligible, some not translated. Eric Yves Garcia, one of our classiest purveyors, shares a lovely story and the song “All the Way” with his usual elan. Alexis Cole’s propulsive, jazz “Come Back to Me” showcases wide range scat, call/respond percussion, and seemingly four-handed piano.
Lizzie Buller, this year’s winner of the Larry and Adela Elow American Songbook High School Competition renders “A Stranger Here Myself” with a fine vocal and excellent phrasing but riding bouncy rhythm that dilutes the song’s dark effect. Gary Williams’ light tap tempo “Isn’t It a Lovely Day?” is straightforward and graceful if not distinctive.
Aisha de Haas
Aisha de Haas ends tonight with the iconic “As Time Goes By,” taking her time, savoring its message. Her silken evening voice is emotionally available.
See you next year! Keep supporting live music.
Unless noted all songs with MD Jon Weber at the piano
Photos by Richard Termine
As Time Goes By: Timeless Tunes– 34th Annual Cabaret Convention Night 3
The 34th Annual Cabaret Convention
Host: Artistic Director of The Mabel Mercer Foundation, KT Sullivan
MD Jon Weber, Steve Doyle -Bass, Ray Marchica-Drums; Sean Harkness-Guitar
Jazz at Lincoln Center’s Rose Theater Fredrick P. Rose Hall
The Mabel Mercer Foundation
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