Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
Thirty-four years into musical marriage, Jeff Harnar and Alex Rybeck epitomize fertile affinity. Both artists continue to grow while playing off one another with the kind of secret language of long time couples. This is evident even in the revival of a 2000 Firebird Cafe show which emerges timeless. (The original CD is available.)
Sammy Cahn (1913-1933) né Samuel Cohen (no relation) put more words into the mouth of Frank Sinatra than any other lyricist. In addition to hit parade songs, he wrote films and musicals garnering 26 Academy Award nominations, four Oscars, and an Emmy. Listening to Cahn is like spending time with an old friend.
After a brief overture, Harnar begins with the iconic “All the Way” (music-James Van Heusen), his voice full, rich, unwavering. A 1950s arrangement of “Teach Me Tonight” (music-Gene De Paul), riding on finger snaps and bowed bass, gives the vocalist opportunity to duet with Rybeck using startling falsetto of which he’s apparently fond. Teach me- do-do-ten-do-do-do, he sings hopefully while sax loops around phrasing.
A tender “It’s Magic” (Jule Styne) – eyebrows rise on the second word – emerges with music box piano and skating flute. Harnar seems besotted. “I’ll Never Stop Loving You” (music & lyrics Nicolas Brodsky/Sammy Cahn) showcases mindful bass, ardent piano and the vocalist’s sincerity with ballads. Both were written for Doris Day films. Intermittent patter here is light, informative.
Other engaging serenades include “I Fall in Love Too Easily” (music & lyrics Jule Styne/ Sammy Cahn) and “I’ll Always Miss Her When I Think of Her”…and I’ll think of her all the time… (music-James Van Heusen.) The first, with a 3am-mellow-sax intro, finds Harnar reflective. …I fall in love (pause) too terribly hard…he reminds himself with a sigh, perched on what might be a bar stool. Every sentiment is convincing.
Three Sinatra hits written with James Van Heusen bounce in with infectious feel-good attitude. Snapped fingers, cool bass, and teasing flute like a backstroking Disney bird freshen “Come Fly With Me,” here, a tempting invitation. During “Ain’t That a Kick in the Head,” Harnar practically emits bubbles. For “Tender Trap,” he’s a wide-eyed ingénue. Honestly. Adorable. On stage movement and gestures are minimal, easy, appropriate. The performer is at home up there, engaging his audience with warmth and skill.
A World War II medley with Rybeck and Egan joining Harnar’s vocals was, for me, a highlight. The three of them plus whomever should do a show comprised of these and other selections. Though “Saturday Night” …is the loneliest night of the week…(music-Jule Styne) is a bit smiley for its lyrics, the other three selections are pitch-perfect.
A plaintive “I’ll Walk Alone” (music-Jule Styne) would’ve captured the heart of every woman waiting for her fella to come home. “Bei Mir Bist Du Schoen…Means That You’re Grand” (Sholem Secunda/Sammy Cahn & Saul Chaplin) with one of the best vocal arrangements I’ve heard of this, is irresistibly spirited. By “It’s Been a Long, Long Time” (music-Jule Styne), the artist has us in the palm of his hand. “Everybody sing!” he encourages, and we do.
Caveat: One might easily do without “Everybody Has a Right To Be Wrong,” a wordy monologue written for that singing fool, Julie Harris.” (music- James Van Heusen for Skyscraper, a show one critic called “Floor Scraper.”)
We close with a rendition of “Time After Time” (music-Jule Styne) –piano creating figure-eights, that embraces the room (another splendid vocal arrangement) and “My Kind of Town (Chicago Is)” (music-Jimmy Van Heusen) in jubilant razzamatazz mode.
This is a real taste of the wonderful Cahn – fastidiously arranged, written, directed, and performed by adroit musicians all of whom appear to be having as good a time as the audience. The urbane Jeff Harnar is in first rate voice.
Show Photos by Maryann Lopinto
Photo of Sammy Cahn- Wikipedia
Jeff Harnar sings Sammy Cahn All The Way
Barry Kleinbort- Director
Alex Rybeck- Music Director
Jered Egan-Bass & back-up vocals, Mark Phaneuf- Sax/Flute
And so they gather once again like migrated birds instinctively drawn to the annual Cabaret Convention, the smorgasbord of an art still beloved. From all over the country, hotels are booked, other shows ticketed. Some out of town attendees meet only once a year on this occasion, while local denizens take the opportunity to greet favorite artists and compare opinions. The 27th edition of the celebratory event boasts a 15 year-old newcomer as well as performers from London and Australia. Buzz is palpable.
KT Sullivan by Maryann Lopinto
Artistic Director of the Mabel Mercer Foundation/Host, KT Sullivan, opens the show with a high, light version of Cole Porter’s “You’re the Top.” Tonight, she might be singing about the audience or the extraordinary fascinator perched on her chignon. (Piano-Jon Weber, Bass- Steve Doyle, Drums- Rob Garcia)
Next we’re treated to Robert Creighton who must run to the theater where he’s starring in his own co-written musical Cagney. “No matter what your political leanings, sometimes it’s hard to see how great this country is.” Creighton performs George M. Cohan’s “Give My Regards to Broadway” and “Yankee Doodle Dandy,” unfathomably without dancing. Renditions are easy, slightly nasal, with apt Cagney inflection. (MD/piano- Matt Perri)
Highlights of the evening follow.
Josephine Bianco; Kelly McDonald by Maryann Lopinto
A finalist at both the Metrostar and Michael Feinstein’s Great American Songbook Academy competitions, 15 year-old Josephine Bianco offers Jule Styne/Bob Merrill’s “People” displaying all the right instincts. The performer takes her time, looks into audience faces, and imbues the number with both personal expression and subtle modulations. Someone to watch.
Burgeoning artist, Kelly McDonald, introduces one of the evening’s few contemporary numbers, “Latte Boy” (Marcy Heisler/ Zina Goldrich). Her vocal is lovely, character embodiment innocent and credible. Kudos to the appealing McDonald for taking a risk. (Piano on both-Jon Weber)
Stacy Sullivan; Natalie Douglas by Stephen Sorokoff
From new CD Stranger in a Dream, we hear Stacy Sullivan’s deft, airbrushed “I’m Beginning to See the Light” (Duke Ellington/Don George/Johnny Hodges/ Harry James) and a well rendered swing selection in which the vocalist shifts octaves like an aerialist (MD/piano-Jon Weber).
The surprising opening of Act II is a buoyant “Helpless” (Lin-Manuel Miranda from Hamilton) featuring Karen Oberlin, KT Sullivan, Natalie Douglas as Eliza and Jon Weber- rapping! (MD/piano-Jon Weber). Douglas is then palpably surprised by winning the Donald F. Smith Award endowed by Adela and Larry Elow. Her interpretation of Jerome Kern/ Oscar Hammerstein II’s “Can’t Help Lovin’ That Man” is beautifully understated. (MD/piano- Mark Hartman)
Vivian Reed and Dancers by Stephen Sorokoff
Broadway’s Vivian Reed unleashes “Sweet Georgia Brown” (Ben Bernie/Maceo Pinkard/Kenneth Casey) as a full production number replete with choreographed backup dancers and bebop scat followed by a gospel “Believe” (admirably without overshooting the mark), which visibly courses through her. (MD/Piano-William Foster McDaniel)
Kristoffer Lowe’s jaunty, tandem “A Quarter to Nine” (Harry Warren/Al Dubin) and “If You Feel Like Singing, Sing” segues from stylish to infectiously happy. Lowe is old school classy. Making his Convention debut, the immensely elegant, decidedly decadent Kim David Smith captivates in English and pristine German with renditions of “Illusions” and “Eine Kleine…” (Piano-Tracy Stark)
Kristoffer Lowe; Kim David Smith by Maryann Lopinto
Irving Berlin’s “It Only Happens When I Dance With You” is married to Amanda McBroom’s poignant “Dance” by Susan Winter who takes us with her on every emotional journey. Shimmering arrangement by MD/pianist Alex Rybeck. The reliably show-stopping Carole J. Bufford erupts into “St. James Infirmary” with powerful vocal from chest to throat, growl to howl, sinuous moves, and a command of the stage we rarely see. (Matt Baker-piano, Tom Hubbard-bass, Rob Garcia-drums, Charlie Coranics- superior Trumpet)
Maureen McGovern is appreciatively presented this year’s Mabel Mercer Award. The artist then sings two immensely original takes on numbers from The Wizard of Oz (Harold Arlen/Yip Harburg): a charming preface of “Optimistic Voices” (You’re out of the woods…) leads to an a capella and acoustic “Somewhere Over the Rainbow” which one can only call indelible. Showcasing her range, McGovern then delivers an ardent, “Blues in the Night” (Harold Arlen/Johnny Mercer) with an entirely different voice. Wow. (MD/Piano-Jeff Harris)
Maureen McGovern by Stephen Sorokoff
Also featuring: Two Randy Newman songs from Karen Oberlin-one appealingly shadowy, the other, a dissonantly paired political ditty (Piano-Jon Weber); T. Oliver Reid’s bubbly “I’m Throwin’ a Ball Tonight” by Cole Porter (MD/Piano-Larry Yurman); A warm Fran Landesman/Alec Wilder number from Barbara Fasano who makes us empathize with every sentiment (Piano-Eric Comstock); Stephan Bednarczyk’s angry take on Noel Coward’s “Don’t Put Your Daughter on the Stage Mrs. Worthington” which defangs implicit wit…
Jacob Storms, whose voice is like an articulated hum, chooses two iconic songs on which he unfortunately leaves no personal stamp. (Piano-Jon Weber) Eric Yves Garcia’s rendition of Cole Porter’s “I’m A Gigolo” emerges vocally forced instead of insouciant, though the artist is capable of the latter. It should be noted, to my knowledge, this is the first time superb performer Leslie Hutchenson,“Hutch,” has been mentioned on the Convention stage. If you don’t know his work, I highly recommend research.
Barbara Fasano; Matt Baker by Stephen Sorokoff
Elvis Costello’s “Almost Blue” is evocatively performed by Matt Baker including breathy vocal and arrangement that sounds like fine, 1950s jazz. (Bass-Endea Owens, Drums-Darrian Douglas) He’s less successful with an over long, dense interpretation of the theme from The Apartment (Charles Williams.) Crowd pleaser Christina Bianco safely repeats her Kander and Ebb “Cabaret” turn for the umpteenth time, imitating such as Julie Andrews and Judy Garland. The talented vocalist might consider moving on. (Piano-Jon Weber)
Thanks to Steve Doyle and Ron Hubbard, bassists, Rob Garcia-drums.
The evening ran a long 2 ½ hours, but offered many rewarding performances.
On the 25th Anniversary of this show’s original opening, (the vocalist’s debut at the fabled Oak Room of The Algonquin Hotel), and the 1st Anniversary of Stephen Hanks’ monthly series New York Cabaret’s Greatest Hits, Jeff Harnar and Alex Rybeck thrilled a club (The Metropolitan Room) so full of enthusiastic audience we practically sat on one another’s laps.
Worthy of The Hollywood Bowl or London Palladium (are you listening New Jersey Performing Arts Center?), this exceptional evening manages to embrace 21 Broadway musicals that opened in or were still running during its memorable 1959 season. The piece, performed with gusto, clarity, and taste, is cleverly framed as a show unto itself (top ticket price $9.20) with narrative arc illuminated by some of the best constructed medleys I’ve ever heard. Occasional duets add sparkle. (MD/pianist/Alex Rybeck.)
Bookended by a splendid arrangement of “Tonight” (West Side Story) delivered in three musical chapters – light piano cadenza, modulated upswell, Broadway fervor and a gauzy “Till Tomorrow”(Fiorello) – this adroitly written show also contains opening and second act Overtures and an amusing Entr’acte. The latter skillfully conjectures what people might be talking about in Shubert Alley at the time.
Jeff Harnar doesn’t just look around the room, he looks into our eyes making this an immersive experience. The performer is expressive and charming. Lightness of carriage and infectious love of the material makes us feel as if we’re at a stylish, showbiz party. Harnar is in superb, muscular voice. He musically turns on a dime and delivers appreciable script without dropping a stitch. There are songs performed with theatrical accents and others he inhabits with seemingly fresh character awareness. Sara Louise Lazarus reprises and conceivably improves upon her expert Direction.
We meet our boy and girl with “A Perfect Evening” (First Impressions.) He says I’ve seen her kind before…uppity laugh… She says, I’ve seen his kind before…head in the clouds, nose inthe air… The lyric is party spoken to great effect. “The wonderful thing about first impressions is that they change” prefaces a waltzy “Nine O’Clock” (Take Me Along) followed by a rich, aptly besotted “On the Street Where You Live” (My Fair Lady). “I Don’t Think I’ll End It All Today” (Jamaica) arrives with fair accent, engaging gestures, and dancey demeanor.
The show’s Marriage Medley slyly employs a familiar wedding theme from Company as a red herring, bridging numbers from other musicals. In part: “I’m Getting Married in the Morning” (My Fair Lady) is a wry dirge; Harnar’s reoccurring “Don’t Marry Me” (Flower Drum Song) emerges sophisticated, insouciant; “One Hand, One Heart” (West Side Story) contains a sob which seems new to this artist. Rybeck ably duets. Remember, he can sing. “As the Act I curtain falls, we find our hero contemplating the wisdom of his dreams.” Hands at his sides, ostensibly holding it together, Harnar showcases finesse while Rybeck’s arrangement shimmers light on selected passages.
Act II opens with a Political Medley featuring such as: “Little Tin Box” (Fiorello) during which Rybeck plays the prosecutor and Harnar the witnesses, several with New Yawk accents. This ends with a jaunty, ersatz soft shoe. And the acerbic hoedown “The Country’s in the Very Best of Hands” (L’il Abner) which sounds disturbingly current. (Why is no one doing a cabaret show of Broadway political songs?)
We then revisit “our troubled lovers.” “I Say Hello” (Destry Rides Again) brims with entreaty; “Long Before I Knew You” (Bells Are Ringing) is palpably warm, “Look Who’s In Love” (Redhead) lands surprised. Before the coda of this section, we hear Harnar’s Harold Hill tell partner-in-crime Marcellus that he can’t run away even if it means being caught. In love with Marian the Librarian,“… for the first time in my life, I got myfootcaught in the door…” (‘Inspired use of a line.). Four bars of “Till There Was You” (The Music Man) adds a cursive flourish. Always a talented balladeer, the vocalist brings sincerity to songs that might be merely sentimental in other’s hands.
A moving “Climb Ev’ry Mountain” (The Sound of Music) with unexpectedly entrancing piano serves as encore. Harnar is tender, not stressed. The song appears heady in a different, more affecting way. Much of the room tears up. Bravo!
This extraordinary show unfortunately has no future dates.
Photos by Steve Friedman
New York Cabaret’s Greatest Hits presents Jeff Harnar sings The 1959 Broadway Songbook First engagement at The Oak Room of the Algonquin Hotel 1991 Recorded live on Original Cast Records 1992 Jeff Harnar-Vocals Alex Rybeck- MD/Piano & Vocals Sara Louise Lazarus- Director The Metropolitan Room 34 West 22nd Street August 13, 2016 Venue Calendar
On April 3 the much acclaimed Celia Berk performed, again at the Metropolitan Room, to introduce her new CD (released April 1), Manhattan Serenade. Berk, winner of a 2015 Bistro Award, a 2015 MAC Award for female debut and the 2015 Margaret Whiting Award (among others), was also recognized for her debut album You Can’t Rush Spring – which was nominated for MAC’s 2015 LaMott Friedman Award for Best Recording. There are reasons to prefer a live show to a recording; and reasons to prefer a recording to a live show. What one gains in polish may be lost in spontaneity. Gains in precision may be traded for a loss in electricity and warmth. Each has merits. This note is less a review than a contrast of the experiences.
I first heard Berk in live performance in 2015 and was immediately won over: see WAT Review. I subsequently heard the corresponding (debut) CD: You Can’t Rush Spring. I was blown away by both the material and the delivery. But a single point in the firmament, however lofty, gives no clue as to a trajectory so I awaited this second recording with a sense of anticipation. Remarkably, both CDs grow in appeal with repeated hearings as fresh nuances come to light. And both CDs reflect a scholarly curiosity (credited collectively to Alex Rybeck and Berk) for unearthing intriguing, little known gems. Manhattan Serenade is pursued with complete commitment by all involved. The liner notes (mostly by Berk and Rybeck) are personal, informative and, to me, an integral part of the CD. The musicality and deep experience of the creative team at work on Manhattan Serenade is so apparent that I am loath to second guess them – although that is in part the reviewers’ role. Nonetheless, at the end of the day, for pure self-indulgence I prefer the first CD. Having said that, Manhattan Serenade is arguably the more imposing work – for the variety of styles, the luminary supporting players and the novelty of the constituent works.
Berk is in her sophomore year of professional cabaret work but has been a student of the musical arts for years. As was apparent from her earlier performances and debut CD, this is a woman of remarkable emotive fluency – capable of putting a smile, a smirk or a wink into the last third of a syllable, and equipped with a rich alto instrument under intelligent and precise control. Her classical training is suggested by her vocal quality but rarely betrayed by operatic nuance – and that only in the service of the music or humor. And unlike so much contemporary music, every lyric is articulated and given meaning by an experienced sensibility. But there is little melodrama here; the fireworks are largely cerebral. To quote Sondheim, “It’s a quiet thing”.
Alex Rybeck is Berk’s musical director, and the arranger of every track on the CD, and the CD is as much his product as Berk’s. To my ears, a couple of tracks are stylistic outliers (notably Goffin and King’s “Up On The Roof” and Kander and Ebb’s “All I Need”), but they add welcome texture. And they do adhere to the theme of the CD (termed by Berk a “Valentine to New York”). Despite the theme, there is no narrative arc – so anything goes provided only that it has a colorable Manhattan connection. As such the CD is, indeed, a “connoisseur’s compilation” (David Zippel) of exotic tidbits where many might prefer, for a listening experience, a more coherent unity. But if you know Berk’s work to date, you know that is not how she cooks – and you will not leave the table hungry after enjoying this menu degustation.
The recordings include only four pieces (of 13) with which I was familiar – notwithstanding the notable pedigrees of the creators: David Heneker; Kander and Ebb; Goffin and King; Bacharach and Simon; Irving Berlin; Weill and Hughes; Weill and Coslow, Rupert Holmes, Whiting, Arnold and Kahn; Rodgers and Hart; Alter and Adamson, Scibetta and Reach; Coleman and Zippel. That, in itself, is entertaining, edifying and worth the price of admission for those who seek to deepen their musical experience.
The recording opens with an apt intro for its theme: David Honeker’s “Manhattan Hometown” (from the 1983 musical Peg – which could well play behind the credits of Woody Allen’s next NYC movie), and closes with a similarly apt (and beautifully and simply arranged) “A Tree in the Park” by Rodgers and Hart. Between the two, musical styles and content run a gamut (and a bit amok). “All I Need” has a Latin rhythm with bongos; “Up On the Roof” has flute and guitar accompaniment to a soft jazz/waltz tempo; “Seconds,” written for the unmade film version of Promises, Promises has a recognizably Bacharach-ian Broadway orchestration; Berlin’s “Manhattan Madness”(featuring Vince Giordano and The Nighthawks Combo Orchestra) evokes the “big band” thirties; Weill’s “Lonely House” is rendered as a “jazz aria”; backup vocals color some arrangements. The musical choices are intriguing and usually surprising. To the aficionado, each piece may be a gem. Nonetheless, when mounted together, they do not make a tiara – except perhaps in the East Village. And if that is your sensibility, this recording is also for you.
The Met Room performance which intro’ed the CD presented a somewhat different face. The notorious warmth of the performer, and the tiniest bit of residual nervousness in delivering patter, come through in the intimate space and add depth to the performance, as did the tangible affection in the room for Berk herself. But the voice, in person as well as on the recording, remains rich, precisely tailored and with an unusual and appealing timbre.
The show is directed by Jeff Harnar and accompanied by the ephemeral “Manhattan Serenade Symphonette” comprising Dan Gross on percussion, Dan Willis on woodwinds, Jered Egan on bass and Alex Rybeck at the piano, doing yeoman work to replicate the various tonalities on the CD. The encore, alone, Coleman and Zippel’s “The Broadway Song,”wassung to the CD music track in order to include the full instrumental richness captured there and a star-studded vocal backup (Josh Dixen, Kristoffer Lowe and director Jeff Harnar).
The live performance included a few numbers not included on the CD. One, “The Party Upstairs” (Ronny Whyte and Francesca Blumenthal), was a particularly appropriate New York number focusing, as it does, on the intrusive entertainments of the upstairs neighbor – from which the singer is excluded. And like “Seconds” (on the CD but not in the live show) it provides a poignant ending by illuminating an unexpected alternate meaning of the lyric. (I would have liked to have that on the recording.) Also not on the CD but in the air were “Such a Wonderful Town” (Whiting and Arnold) reprising a comedic number from Berk’s Met Room debut and the Gershwins’ “Embraceable You.”
The CD lacks the patter that makes a live performance personal and, often, funny. From the stage, Berk offered New York-centric anecdotes including the tale of her having arrived in NYC with her theater degree and immediately getting a job in a bakery. There she was privileged to serve Betty Comden a choice selection of rugelach accompanied by a (presumably sotto voce) rendition of “Bake someone happy, bake just one someone happy . . . and I can cook too!” And there is no doubt that Berk can cook, and will – each Sunday in April at the Metropolitan Room.