With Cari Golden & Peter Davenport
and Tedd Firth on piano
Judy's Chelsea
Wednesday August 7, 2002
Sadly it has been almost two years since Lee graced a New York cabaret stage and this has certainly been New York's loss. If you haven't seen this fine singer in awhile, or you are among the unfortunate that have never seen him, run now!!
Lee has put together a show of mostly contemporary songwriters' "classics of tomorrow" with a fair touch of Broadway shows tunes and songs from the American Song Book.
He opened the first of his two Judy's show with the haunting "Dreamers" from Marvin Hamlisch musical, JEAN SEBERG. This beautiful song, first heard in a London workshop of the musical, appears on Lee' 1999 CD, "I Know You By Heart".
At a West Coast composers tribute, Corky Hale introduced Lee to "Never Let Me Go" and "Shadow Of Your Smile". And now he introduced his classic versions to us. And he then moved into a song he said has haunted him since S.T.A.G.E. Jerome Kern evening a few years ago, "In Love In Vain" from the '46 film CENTENNIAL SUMMER. It was beautifully sung and equally haunting to the audience.
Adding the first touch of humor to the evening, Lee sang Babbie Green's "The Best Thing To Happen To Me", a delightful song of vengeance and wrath of love spurned. Keeping in the same light vain, came Mercer's "Whatcha-Ma-Call-It", which Lee jokingly called "Mercer at his romantic best" and contained a breathtaking solo verse from accompanist, Ted Firth. A little later in the show, Lee would sing "Bagel Maker To the Tsar", the last of his light, humous songs of the evening.
"Where Does Love Live" was the first of two Ann Hampton Callaway songs Lee sang. He declared this to be a "standards of tomorrow" and he certainly did justice to her music.
Next up was s song from a 1999 Swedish musical, Kristina FrånnDuvemåla, called "Guldet Blev Till Sand" ("Gold Like Sand Can Slip Through Your Fingers") originally sung by Peter Jöback (check out his web site). Apparently the English translation didn't measure up and so Lee sang it, beautifully, in it's original Swedish.
Cari Golden then joined Lee for a stirring duet of Jason Robert Brown's "I'd Give It All To You". The song was well suited to the richness both of their voices possess. Cari then had a solo turn with a Ellington/Strayhorn Classic, "Lush Life". With a country CD waiting in the wings, this lovely lady seem capable of singing most anything!
Attractive and warm, Peter Davenport, Lee's second guest, sang "Come Rain Or Come Shine" which came from his recent acclaimed Triad show, proving he's a newcomer to watch!!
Lee came back on stage to close the show with two beautiful songs, a Peter Mark's hit, "To Where You Are", dedicated to a dear friend, Hayden, who had died of cancer and a stunning version of SCARLET PIMPERNEL's "Storybook", arranged by the absent John Boswell. Another reason to wish Lee would keep is promise to record THREE MEN and a BABY...GRAND!, a show Lee has frequently done with John and Brian Lane Green. (hint!)
As his encore song, Lee closed with Ann Hampton Callaway's "Perfect", which has become a tradition closing number for him. Moving and deeply felt, I could understand why this song has a special place in Lee's heart. It can also be heard on "I Know You By Heart".
MJN On Line
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The MAC/ASCAP
Songwriters' Showcase
with special guest: Ervin Drake
Tuesday, June 3, 2003
The Lighthouse, NYC
As often happens when I go to these songwriter events, I sit in the
audience and wonder, "Where are all the singers? Especially those who are always complaining about not finding new material." Yes, there were a good number of singers in the audience and they were the ones who often champion new songwriters in their show... the singers who's selection of songs goes beyond the Great American Song Book, circa 1950.
These MAC/ASCAP evenings are the prefect way to hear some new writer and some new singers and to network with the Cabaret Community, plug an upcoming show or just meet the people that hopefully will be at one's next show. It's also a great time to find out what is happening, or going to be happening in the Community. I found out Sue Matsuki, Jonathan Frank and Richard Malvet are all planning to return with their last shows this Fall. Lenny Watt's talked a bit about his new Cabaret space which will be on 2nd Avenue between 13th & 14th Streets, and will have much of the beautiful woodwork as often found in turn of the century buildings. Sounds like a winner to me!
This evening was especially strong, with most of the songwriters offering, in a broad range of styles, songs that were fresh and could easily find their way into someone's cabaret show.
Dennis Livingston's "An Ordinary Day", sung by Brandon Cutrell, started the evening off. Dennis, son of Jerry, Livingston has only recently started write. Chris Coleman, an Australian singer living in London, was the first singer to record one of Dennis' song, "It's Time For Roses" as the title cut of Chris' CD`. Tonight Brandon sang of the "joys of everyday miracles". Dennis is also hoping to have a revue of his songs play the new club, Upstairs @ Red.
Sarah Nagourney, a retired singer turned songwriter, was next, and sang a soft ballad, "Wings Of a Dream" which she wrote with Angela Kaset. This lullaby was inspired by Sarah's young daughter.
A real treat for the audience came with the cast of the Off-Broadway hit ZANNA DON'T, preforming a song from the show, "Do You Know What It's Like" by the playwright Tim Acito, who played for them. Sung by four of the cast members, this was a real audience pleaser.
Exhibiting a great deal of chemistry, Marnie Baumer and Stephen Hope sang a cute duet from Bob Ost's EVERYBODY'S GETTING INTO THE ACT. "Looks Like Love" can also be found on Bob's star-studded recording of the show.
In a MAC/ASCAP debut, Susan Horowitz sang her song about "Sailing", a metaphor for life. Then the always delightful Gina Caruso took stage with "A Woman Of a Certain Age", a song she co-wrote with Steven Lutvak when she needed a title song for her cabaret look at being a content, confident "woman of a certain age". here's a song tailor-made for that slightly older singer who wants something smart, witty and optimistic about the natural process of aging. And her new hair style was a knock out!
Another treat was actor/singer Todd Murray singing his own composition, "When I Sing Low". Todd was a "treat" in many ways, talented songwriter, with great looks and loads of charm and, a rarity in cabaret, a bass/baritone. His witty song was written as a response to all those casting directors who asked him to sing a high G. Tex Arnold was at the piano.
Always delightful and always entertaining, Dottie Burman took a wacky look at the positive effects of "global warming" on New York City real estate, "When Palm Trees Grow in Central Park". John Delfin, on piano, and Tom McGrath, downing a straw hat, on percussion, added greatly to the festive Latin flavor of this funny tune.
Peter Link, making his MAC/ASCAP debut, bought a folky quality to his "Without You". The owner of West Track Recording Studio, in Hell's Kitchen, brought a thoughtful, personable quality to his song and made me glad I'd bought his CD in the lobby before the show. Another reason to go to thes events, finding what is available on CD.
With a strong voice and equally strong personality, Tracey Moore sang "There's Only One Way to Find Out", a song with both angst and humor, written by the Broadway composer of TRIUMPH OF LOVE, Jeffrey Stock.
Julie Reyburn brought "inspiration" to "Spread Your Wings" by Kennedy Center alumni, Danny Whitman and Brad Ross, in one of the evening's Diva moments. MAC winner Julie Reyburn was accompanied by Mark Janas who also supplied vocal back-ups.
RADIANT BABY star, Daniel Reichard sang one of the evening's funniest songs,"Parsley". This tune, from Paul Loesel and Scott Burkell, will probably start showing up in cabaret show soon, as I know of at least one performer who asked Paul for a copy after the show. It's about a 4, who is probably being used by a 10... "I'm the parsley on your plate".
Bringing the first part of the program to a close, was another MAC Award winning Diva, Karen Mason gave her own stamp to "The Chance To Sing", a song written for Bea Arthur's Broadway show, JUST BETWEEN FRIENDS. Composer Billy Goldenberg, who wrote it with Tom Jones, accompanied Karen on the piano.
At this point the evening's charming hostess, Jamie deRoy, welcomed special guest, composer Ervin Drake, to the stage. There was a delightful exchange between them as Jamie lead a discussion of Mr Drake's career, his life with his second wife, Edith, a charming story I might add, his television work on The Tonight Show and touched on some of his experiences with Johnny Carson, Mel Brooks, Carl Rinner, Frank Sinatra and Barbra Striesand.
Mr Drake then sat at the piano and sang some of his greatest hits, including "Good Morning Heartache", with comments on how Edith broke his heart when they were young, "A Room With a View and "It Was a Very Good Year". Alix Reybeck joined him, to play for the closing song, "Who Are These Strangers?" which for an unexplained reason, seemed to be a deeply personal and highly moving song for Mr Drake. It was a plea for tolerance towards gay men and women and listed many who have shape Western art, literature and music over the centuries. I would have loved to known the reason for Mr Drake's obvious and deep feelings about the
subject of this song.
MJN On Line
FYI - ERVIN DRAKE Bio Information:
Ervin Drake composed a number of vocal and jazz standards, including "Perdido", "I Believe", "It Was a Very Good Year" and "Good Morning Heartache". He also composed the Broadway Musical, WHAT MAKES SAMMY RUN. He Born in New York City in 1919, Drake studied graphic art in college. He worked in television for most of the '50s, on specials for Steve Lawrence & Eydie Gorme, Frank Sinatra, and Gene Kelly. "I Believe," Drake's statement of religious conviction, sold tens of millions of copies through several recordings. During the mid-'60s, he earned his
first degree in music, from Juilliard, and composed the 1966 Grammy winning "It Was a Very Good Year" for Sinatra. Drake also served as president for the American Guild of Authors and Composers from 1973 to 1982.
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PRIVATE EVENTS IN
PUBLIC PLACES:
A revue of songs by Brook Cowan
and Jeff Matson With David Maiocco
and Miles Phillips
Don't Tell Mama's
Monday May 6, 2002
This is one of those "who can out diva whom" shows! It's a real crowd pleaser and everyone left the room happy and maybe a little amazed at seeing this much talent, Annie Hughes, Rob Langeder, Carolyn Montgomery and Miles Phillips, all on one stage. It has already been extended as of opening night.
Each performer had at least one glorious moment and most had more then that, under David Maiocco's strong musical direction. I'm sure a number of these new songs will find their way into upcoming cabaret performances. I heard a number of singers were asking for Mile's amazing song "The Stories You Tell".
Then there was Annie's 'drunken' version of "Orchids", Rob's intense "Daniel" and Carolyn's blusey "Some Good Use" plus all the smooth vocal harmony they produced together and in various duets, as did Miles and Rob with a Latin-flavored song about a generational gap in a relationship called "Perfect".
There is one song which any singer who has that secret day-time identity will want to sing, "Day Job Blues", breathtaking funny in Carolyn's hands. I highly recommend this show for anyone who wants to see some of cabaret best singers, to hear David Maiocco's brilliant arrangements or to hear some great new music. Mondays through May 20th at 7:00pm with new dates TBA.
MJN On Line
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Shaun Rennie
Danny's Skylight Room
Sunday, Nov 2, 2003, 2:00pm
Having met Shaun before heading to his show, I had a very distinct impression of what to expect from this young Australian singer. And, as I thought he would, he radiated sweetness and joyfulness from the stage This made his show all the more enjoyable as these qualities were real and sincere. He also possessed a maturity well beyond his 21 years. He is definitely a singer to be watched.
With the able help of Christopher Denny, Shaun had put together a show that no only entertains but gave a glimpses into his background and one comes away knowing the singer a bit better as he told about his childhood, family and some of the things that influenced his music.
His song selection was unusually well suited for his age and range, "Starry, Starry Night" being a perfect fit for him, as was his quite and moody reading of "Blue Moon". He did justice to "The Second Star To the Right" and gave "Personal Property" a touch of his New York experience.
Besides Peter Allen's "I Honestly Love You", he introduced number of other songs by Australian composers, "Late Again", "Burn For You" and a very moving "I'm Way Ahead". The first two were brilliantly arranged into a "story-medley".
He included a number of standards in his show, stating he'd just started learning them. "Long Ago and Far Away" and "The Way You Look Tonight" were well sung but Shaun still needs to find an emotional hook for them and I think that will happen with time.
As he musically asked, "Aren't You Glad You Came", I can truthfully answer "Yes!!" and will go back to see this new talent grow and developed.
Shaun has three more shows at Danny's, Wednesday, Nov. 19, at 9:15pm, Sunday, Nov. 30, at 8:45pm and Tuesday, Dec. 2 at 9:15pm. Don't miss him!!! Also heard he may be a guest during Andrea Marcovicci's run at the Algonquin's Oak Room, bravo!!
MJN On Line
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JULIE REYBURN
@ The Firebird
Thursday October 4, 2001
Every now and then the "cabaret gods" bless me. This happened at Julie Reyburn's debut show at the Firebird. It was one of those magical nights when everything came together in perfection. The magic was there... her glorious voice, Mark Janas, Musical Director, on the piano and her amazing musicians, John Loehrke on bass and Matt Aiken on percussion, all making perfect harmony!!
Julie's director, Andy Gale, took what was a very good show at Judy's and made into a GREAT show at Firebird!!! By using the best material from NEAR THE FIRE, such as the strong Latin-tinged medley "I Got Lost in His Arms/Wave", Jobim's "Aqua de Beber" and the exquisite medley arranged by Mark and Steven Lutvak, "The Moon Is a Harsh Mistress/I Had a Dream About You", and by adding equally strong new songs such as Bernstein's "Trouble in Tahiti" and Nyro's "To a Child", Andy helped Julie present a MUST-SEE evening!!
The band played with Julie, not over her like in a show I'd just come from, where the band drowned the singer much of her performance. Mark's arrangements gave the show an organic flow. Each song seemed to grow directly into the next, each made sense. By the evening's end, I found myself in tears, maybe it was the emotional James Taylor's "Enough to Be On Your Way" or the way "Days Of Wine and Roses" wove so achingly through Sondheim's "I Remember" or maybe it was just knowing I was at one of those evenings I'd long remember.
And touching gentle comment on the events of the last weeks, Julie's encore with Charles Bloom's "You Know How I Worry" was an extremely moving moment.
Julie will repeat the incredible show next Wednesday October 10th, Thursday October 18th and Thursday October 25th when the show will start at 9:30pm because of the Cabaret Convention. For Firebird reservations call 212.586.0244. If you haven't heard Julie yet, you owe it to yourself to catch her so some day, you'll be able to say "I saw here when...". And if you've already heard her, you know just how special she can be.
MJN On Line
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Julie Reyburn
BLACKBIRD
with Musical Director Mark Janas, Ritt Henn: bass
and Suzanna Abbott:vocals
Judy's Chelsea
Thursday, Sept 12, 2002
This was certainly the best Julie Reyburn show yet... and anyone who has seen her any of shows knows this is high praise indeed. Besides Julie's glorious voice, there were Mark's brilliant arrangements and Ritt's easy bass playing. Plus, the men joined Suzanne for some amazing backup vocal harmony on a number of songs.
One realized the show was going to be an unique cabaret experience from the opening song, "Blackbird", with an arrangement as probably never heard before. It became a haunting Southern-Gothic gospel flavored hymn, intensified with the background harmony of Mark, Ritt and Suzanne.
Through out, Julie's vocals were strong and assured, seeking out new ways to sing old tunes, such as "Say a Little Prayer", "Lucky So & So" "Knowing When To Leave/50 Ways To Leave Your Lover" and "9 To 5".
Among my favorite songs, were a sensual, sultry "I Put a Spell On You", set with a wash of red light, and the hot jazzy take on "Let Yourself Go" with Julie's cool vocals. In the former, Julie used her voice to subtlety weave a spell on the audience, slowly but with an amazing amount of power and assurance. Also amazing was the playful duet with bass player, Ritt, for "Back on Bass", right down to Julie's plunking the last note.
This was a show that subtly addressed issues which weigh heavily on most New Yorkers' minds, the events of 9/11. While never being specific, it addressed the pain and the healing that followed, mostly due to our wonderful community of friends and family. Nowhere is this more evident then in the closing songs, "Homeward Bound' followed by a glorious medley, "Try to Remember/ His Eye On the Sparrow" and closing with "Let My Love Open the Door". I was immediately struck by the hope in Julie's voice, the hope that comes with healing. I truly
believed Julie when she sang:
I sing because I'm happy
I sing because I'm free
I also strongly felt it was not only Julie's "love" that opened the door but also that glorious voice, filled with hope for the future.
MJN On Line
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Jenna Robinson
with Rick Jensen
Don't Tell Mama's
Sunday, December 1, 2002
I can only hope New York will soon become home to this powerhouse singer who hails from Sunset, FL. via Los Angeles. With a voice almost too big for a cabaret stage, think Baby Jane Dexter or Lina Koutrakos, Ms. Robinson deserves a space like Carnegie Hall's Weill Hall or the Bottom Line to really flex her vocal cords. As demonstrated in her bluesy "Touch Of Your Love" or pop sound of Annie Lenox's "Cold", with just the right amount of vulnerability, Jenna shows what her big voice is capable of doing.
But she's also able to ring an amazing amount of emotion out of a quiet ballad as in her heartbreaking "Long Night" or an equally devastating "Unusual Way" from NINE. Jenna brings just the right amount of a haunting quality to Mancini's beautiful "Two For the Road"and a touch of a bitter edge to Strayhorn's "Lush Life".
The oft sung opening song, "Flight" soars and shows off Jenna's voice as the song was designed to do. Her strength and vulnerability is also heard on Rick Jensen's (her musical director) "Coney Island", making this one of the finest version of his song I've heard. Also quite wonderful is the medley opening with Donna Summer's "On the Radio" blending beautifully into Mary Chapin Carpenter's "Come One, Come On".
Jenna flexes her acting and comedic abilities on the funniest reading of Christine Lavin's "Good Thing He Can't Read My Mind" I've herd, outside of the author's own definitive version. And the full power of her voice comes to play on the jazzy "Kick That Monkey" by another recently arrived New Yorker, Johnny Rodgers.
MJN On Line
