Great Big Huge Broadway: Sally Mayes
Sally Mayes approaches the last of her four concert series at The Green Room42 with no less gusto than the first. Buckle up! Launching a jazz arrangement of “Get Me to the Church On Time” (Frederick Loewe/Alan J. Lerner), rhythmic dexterity is front and center. ..If I’m flirtin’ with every guy in town/You gotta be certain to shut me down…she updates, buoyed by terrific vocal back-up. (Jessica Wright, Carolyn Montgomery) At the piano, Tedd Firth plays giddy. Mayes scats.
The band whisks right into “Digga Doo”/”Doin’ the New Low Down” (Jimmy McHugh/Dorothy Fields). It’s full tilt swing as Mayes delivers elastic vocal; swings her arms, bobs her head. “I’ve been really fortunate…we move to the best city in the world because we want to be the best at something,” she says. “Being Good”…isn’t good enough…arrives muscular, determined. Lush phrases fan out, fold some, and fan again. Wright’s fine violin adds texture (Jule Styne/Betty Comden and Adolph Green).
“Thanks A Lot, But No Thanks”…for the present of the silver blue mink/thanks for the plane and the ice skating rink… (Jule Styne/Betty Comden & Adolph Green) opens with wry bass. Tempo is a stripper walk. Mayes’ women are never pushovers.
Tedd Firth, Sally Mayes
From Mark Winkler’s musical Play It Cool, we watch as she explains to a newcomer, “Jazz is A Special Taste”…a little underwhelmed, hard to understand, and dangerous…The artist has a remarkable range with clarity at all levels. She’s a chanteuse on steroids. “Call Me Savage” (Jule Styne/Betty Comden and Adolph Green), replete with monologue and “Prehistoric Man” (Leonard Bernstein/Betty Comden and Adolph Green) exude theatrical charisma. Back-up churns.
“Like a Baby”… I’m feeling like a baby/A life with brand new feelings/ Like life has just begun…(David Shire/Richard Maltby, Jr.) morphs into “Like a Child”(Alex Rybeck/Sally Mayes) The first a new love, the second –eloquent and empathetic- a woman taking care of her helpless, dementia-riddled mom. Pairing reveals intelligence and sensitivity.
Cy Coleman was Mayes’ mentor and friend. “I always wanted to play Charity Hope Valentine”, the performer tells us, “but I can’t dance.” I disagree. She may not execute choreography, but the artist’s characterization leaves us with similar feelings of having observed sweep and movement. Two songs from the musical are woven into a wide screen, Technicolor arrangement (Sweet Charity – Coleman with Dorothy Fields).
Sally Mayes, David Finck, Jessica Wright, Carolyn Montgomery
“One of the things about my life – I’ve had to reinvent myself a lot. For all of you out there finding your way…” offers another perceptive pairing.“Learn to Be Lonely” (Larry Grossman/Betty Comden and Adolph Green) Make a new start/Like a new chart…is followed by “My Own Morning” (Jule Styne/Betty Comden and Adolph Green) I wanna know when I climb into bed I’ll wake up in my own morning – a morning that really belongs to me. Mayes is ardent, sympathetic, proud.
“If you get to have one of these in your career, then you’re lucky. I love this lady,” introduces David Shire/Richard Maltby Jr.’s “Miss Byrd,” a song the performer introduced and which will forever be indelibly, adorably hers.
Another openin’, another show! Sally Mayes packs up her intelligence, wit, dynamism, and titanic talent until next time.
Photos: Alix Cohen
Great Big Huge Broadway: Sally Mayes
Tedd Firth MD/piano
Additional extraordinary Arrangements Patrick Brady
David Finck -bass, Jessica Wright – violin/vocals, Carolyn Montgomery – vocals
The Green Room 42
570 10th Ave in NOVOTEL
