June 8, 2012
The NYTimes reviews the current Maud Maggart outing at Feinstein’s: ”
As the show goes along, Ms. Maggart’s perspective widens. What could be more contemporary than George M. Cohan’s bluntly cynical, “Life’s a Funny Proposition After All,” written in 1904? “We’re born to die, but don’t know why, or what it’s all about/And the more we try to learn the less we know,” the song recalls. The showstopper is a medley of “I’ve Told Ev’ry Little Star,” which Oscar Hammerstein II reportedly sang to Jerome Kern on his deathbed, and an ethereal rendition of “All the Things You Are” infused with the intensity of a prayer.”
June 8, 2012
The NYTimes does not seem to have enjoyed the recent program “Sweet & Low Down: How Popular Standards Became Jazz Classics,” the Jazz at Lincoln Center concert at the Allen Room:
“A fundamental problem was the concert’s basic quartet. The players (the musical director Tedd Firth on piano, Andy Farber on saxophones, Tom Kennedy on bass and Mark McLean on drums) are all first-rate. But Mr. Firth’s notion of pop versus jazz was simply a matter of picking up the tempo for jazz.
“There was no serious attempt to reharmonize a song or to experiment with time signatures. Nor did Mr. Feinstein’s remarks address such matters. Instead, he larded the show with interstitial shtick.
“The result was a concert that was unenlightening, middling entertainment: nonjazz for dummies.”
June 1, 2012
The NYTimes reviewer continues his trend of gushing over the work of John Pizzarelli and his family: “This friendly musical palaver made for an enthralling evening of serious jazz comedy at the quartet’s Tuesday opening-night performance at Café Carlyle, where Bucky sat in as an honored guest….Pure joy reigned.”
May 27, 2012
I got to see Christine Ebersole last month at the Baltimore Hebrew Congregation’s Night of the Stars benefit. Only after agreeing to attend the event did I find that Cabaret Scenes has a policy of not reviewing benefit performances.
So here’s what my review would have been:
Christine Ebersole’s star power was in full force at her appearance at the Night of the Stars benefit in Baltimore. Her stage persona is charming and snappy, and she delivers zingers with a keen wit and concentrated energy.
She is a dynamic, supple singer who can nimbly deliver a song in a great many styles. She can swing with the best in a number like “Strike Up the Band.” She can project a sophisticated wit on the Coward song “What’s Going to Happen to the Tots?” And she can bring a wistful smile with “Right as the Rain.”
Every individual moment of her show was charming and entertaining. Unfortunately, despite direction from Scott Whitman, the show as a whole was surprisingly unfocused with occasionally jarring non-sequiturs. For example a funny story about Ebersole sending her husband off to brain surgery with the sentiment “If you die, I’ll kill you” was followed by a serious rendition of “I Loves You, Porgy.”
Ebersole also has the enviable problem that she is such a competent and versatile vocalist, that when presented with the generic arrangements that music director John Oddo provided she fit into the needs and mood of each particular arrangement. Unfortunately the adeptness of her versatility meant that her musical persona was far less interesting and less consistent than her patter persona, giving the evening an all-over-the-map feeling to it.
November 10, 2011
THe NYTimes on cabaret’s top mother/son team:“The singer Sandy Stewart is the queen of calm. In a world in which everyone is shouting to be heard, Ms. Stewart — appearing with her son, the world-class jazz pianist Bill Charlap, at the Algonquin Hotel’s Oak Room — is a voice of reflection. As she and Mr. Charlap performed standards on Wednesday, you had the feeling of being in the presence of an empathic sibyl gently reminding you that life goes on.”
As to Maureen McGovern’s stand at Birdland: “Vocally Ms. McGovern, now 62, is a pop-jazz embodiment of that ideal. Unfailingly demure, unabashedly romantic, with a voice as strong and flexible as Barbra Streisand’s, she can go anywhere she pleases. It is a voice especially well suited to songs by Rodgers and Hammerstein and Alan and Marilyn Bergman.”
October 25, 2011
Is it just me or is there just something incredibly New York-centric about someone chastising a performer for making a (presumably) hefty paycheck on a TV series?
The whole review is worth reading.
October 5, 2011
Sitting through Audra McDonald’s show at the Kennedy Center last night, I really tried to parse what makes her the phenom that she is. Certainly she has a sound. Her pitches are accurate. She’s a passionate storyteller. She tends to have very good taste in material. And she has musical technique for days and days and days.
However, after a while I gave up and enjoyed the show. Really enjoyed the show. For anyone knowing McDonald’s body of work, the song list below pretty much tells the story. I will say that she had an openness with the audience that was lovely. And even though her patter was occasionally scattered, it was certainly spontaneous which I far prefer to pitch-perfect and canned.
Two things that the song list don’t tell you are that she accompanied herself at the piano on the Adam Guettel piece. Afterward, she explained that she had been inspired to do so by her late father who had expressed a desire that she play the piano in concert more. Also, the most emotional moment of the concert was the song, I’ll Be Here by Adam Gwon (composed of The Boy Detective Fails at Signature). It tells the story of a romance interrupted by 9/11. Sadly there is no YouTube version of McDonald singing the song. And when I saw the other (very competent) versions, they just didn’t hold up. And still my query from the first paragraph.
I have to admit that the objective observer in me sensed that McDonald didn’t seem to have an outside director for the show. I felt that there were a few opportunities missed in terms of staging and a few questions about song choice and line-up that could have been explored. Music director Andy Einhorn understands McDonald’s needs and artistic goals and support both brilliantly along with drummer Gene Lewin and Mark Vanderpoel. That said, Einhorn doesn’t necessarily provide any distinctive musical takes or insights with his arrangements. (i.e. It would be tough to accuse someone of singing Audra McDonald’s version of any song.) These quibbles notwithstanding, I have to admit that if the show were any more amazing I don’t know if I could have survived.
- When Did I Fall in Love?
- Stars and the Moon
- It Might as Well Be Spring / Hurry, It’s Lovely Here
- My Buddy
- I Double Dare You
- Moonshine Lullaby
- Moments in the Woods
- He Loves and She Loves
- We Sail Upon the Water*
- Dear Friend
- Whose Angry Little Man? /Baby Mine
- I Could Have Danced All Night**
- Go Back Home
- I Can’t Stop Talking About Him
- I’ll Be Here
- Make Someone Happy
- Ain’t It the Truth
*Guessing at this title. The song is by Adam Guettel **I don’t actually remember where in the show this came.