Three generations of exceptional jazz vocalists backed by the Aaron Diehl Trio showcased similarities and differences in this all female program.
Recent Julliard graduate, 24 year-old Ekep Nkwelle, has already toured with jazz legends. Polished stage presence belies her years. Nkwelle has style, a gorgeous satin voice, wide vocal range, and terrific control. To say she hears things we don’t is putting it mildly. The artist reformats songs to fit her own iconoclastic rhythms and emphasis. “Day In, Day Out” (Rube Bloom/Johnny Mercer) is buried under interpretation.
Ekep Nkwelle
“My Shining Hour” (Harold Arlen/Johnny Mercer) starts a capella with only percussive brushes like hummingbird wings, then breaks into swing. Bass (Vicente Archer) and drums (Aaron Kimmel) hold the line while piano (Aaron Dielh) and vocal go their own disparate ways. An almost unrecognizable “CC Rider” (traditional) follows. “Om gonna buy me a shotgun, long and tall…” Nkwelle sings with momentarily apologetic expression. Really? Out of thousands of songs?
“In a Sentimental Mood” (Duke Ellington/ Manny Kurtz) showcases the full effect of unmistakable melody and talent. Eyes closed, the vocalist nods and shakes her head. Right arm extends as she exhales, thumb and index fingers touch like a dancer. Archer leans to the right mouthing notes a la Jay Leonhart. The song sighs. Intention, emotion, effect.
Grammy winner Catherine Russell is as authentic as they come. Integrity of the song is equal to warmth and infectious pleasure of communication. “How About You?” (Burton Lane/ Ralph Freed) arrives mid-tempo, head-bobbing swing. Russell grabs handfuls of air. When a lyric veers out of sync with the band, it seamlessly slip/slides back – like a tease. A classy “The Brooklyn Bridge” (Sammy Cahn/Jule Styne) emerges with affection.
Catherine Russell
“Dance and music for me are married,” prefaces two waltzy numbers. “Dance Only With Me” (Jule Styne/Betty Comden and Adolph Green) is textured by Matt Munisteri’s guitar filigree. “The Best Things Happen While You’re Dancing” (Irving Berlin) in my opinion burdened by abrupt, emphatic piano chords I find too harsh for lyrics. Both are tinted with jazz, but an axis of romantic sway remains.
With a nod to Dinah Washington’s centennial, “Let Me Be the First to Know” (Pearl Woods/Leroy Kirkland) strolls, the personification of cool. Some have it, some don’t. Russell’s is both in her genes and her perception. She dances in place. The artist doesn’t just sing, she makes the verse sympathetic. “Puttin’ On the Ritz” is just fun. Accentuation of selected words conjures tap. Bass thrums, percussion sticks hit wood.
Lights dim. The indomitable Marilyn Maye, lighthouse to generations of vocalists, offers successive medleys. Dozens of songs, some of the best accompanied only by piano, exemplify her less is more approach. Maye sings in real time. Repertoire is so well known to her, she can subtly vary each iteration. The artist leans out to fans, looks into faces. She appreciatively turns to musicians during duet parentheses.
Marilyn Maye
“I Get a Kick Out of You” opens with only rhythmic bass. “It’s All Right with Me”, “It Was Just One of Those Things” and a cha-cha, “I’ve Got You Under My Skin” follow telling a story. (All Cole Porter.) At the piano Diehl breathes with the artist. Maye has been performing “Do Nothin’ Till You Hear From Me” (Duke Ellington/Bob Russell) and the iconic “Satin Doll” (Duke Ellington/Billy Strayhorn) – patting her thighs- for eight decades. “You’re too young to remember any of those” she tells the front row, implicitly raising an eyebrow.
The artist flirts. “A lotta kisses on my bottom,” she sings (“I’m Gonna Sit Right Down and Write Myself a letter.”- Joe Young/Fred E. Ahlert) A hand gesture or facial expression comments. There’s not much scat tonight, but it’s mastered as fluently as scales. “Angel Eyes” (Matt Dennis/Earl K. Brent) is lighted chiaroscuro. A bouncy “On the Street Where You Live” (Frederick Loewe/ Alan Jay Lerner) wafts. “Oh, oh, over powering feeling…”
Aaron Diehl
The three ladies join for “I Love Being Here With You” (Peggy Lee/ Bill Schluger), each taking a verse. “I love to hear you call my name,” Maye sings. “MARILYN!” the audience calls out.
Photos by Richard Termine
Opening: Aaron Diehl, Ekep Nkwelle, Catherine Russell, Matt Munisteri, Marilyn Maye
Jazz in July: Singers and the Song
Aaron Diehl, Artistic Director
Ekep Nkwelle, Catherine Russell, Marilyn Maye
Vicente Archer- bass; Aaron Kimmel- drums
Guest Matt Munisteri- guitar
92Y Kauffman Concert Hall
Lexington Avenue at 92nd Street
