Interview: The 20s and 30s Shine in Bryce Edwards' FRIVOLITY HOUR at Birdland

On Monday, February 24 at 7 pm, Birdland Jazz Club will present the return of crooning troubadour and nouveau vaudevillian Bryce Edwards in The Frivolity Hour. After several sold-out shows, the venue is welcoming him back for an encore performance by popular demand. Once more, Bryce will share his original brand of hot traditional jazz and early 20th century popular music, playing all the lush serenades and delightful novelties you never knew you wanted to hear.

Leading a team of extraordinary jazzmen Scott Ricketts on cornet, Ricky Alexander on clarinet and alto saxophone, Conal Fowkes on piano, and Jay Rattman on bass saxophone, Edwards revels in the amazing sounds both hot and sweet that made the twenties roar. BroadwayWorld called the show “Non-stop fun. The cheekily-titled ‘Bryce Edwards Frivolity Hour’ valiantly and victoriously brings back vintage vaudeville with vim and vigor.”

We spoke with Bryce about the upcoming show and what he’s been up to lately.

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How do you feel about the return of the Frivolity Hour this month?

Well, it’s always an honor to play at Birdland. It’s still surreal that I get to put on my show there- because who the heck am I, of all people? I must be doing SOMETHING right though, because here we are back again. Frankly, though, any opportunity to do this show is always special, especially at a bigger venue where I get to bring out the quintet. I love leading a band and curating a setlist and arranging and all that jazz… especially when it’s this group. These are all guys who love this music as much as I do and really understand it. They always elevate whatever I throw at them.

Can you tell us a little bit about what you're planning to do in this installation of the Frivolity Hour?

As always, we’re saluting the great pop singers of the twenties and thirties- you’ll hear from Cliff Edwards, Rudy Vallée, Gene Austin, even Al Bowlly from across the pond, as well as nods to jazz greats like Bix Beiderbecke and Louis Armstrong. Some new additions to the show that I’m particularly excited about are an overlooked gem from early in Bing Crosby’s career (we’re talking the Paul Whiteman days), and a tribute to Mr. Jimmie Rodgers, in which we’ll explore the commingling of jazz and country music (it was called “hillbilly music” back in them days) when both genres were in their infancy.

What has been the most rewarding part for you, so far, about spreading awareness of some of these early 20th century music pieces?

First and foremost, my goal is to be entertaining. My “thesis” is that this music from a century ago is still full of life and vibrancy (and may even be especially welcome and refreshing in today’s oversaturated media landscape). If the folks aren’t entertained, then what the heck am I doing, right?

I really hope to spark interest in this era of music. Especially in the world of jazz, traditional pop and cabaret so much of the roots of what we do begin in this period, and I hope to emphasize that when I perform. I can’t really think of anyone else who’s made their bag trying to emulate the style of these 1920s singers who are essentially some of the first pop artists.

You recently made your Jazz at Lincoln Center debut at the Mabel Mercer Foundation's Cabaret Convention last year. What was that experience like?

It was thrilling. Though I will admit- opening the show? Setting the tone for this cavalcade of cabaret excellence? On opening night, honoring the great Charles Strouse, who was there in the audience? I don’t often get nervous before performing, but this was a mite nerve-wracking––productive nerves, though! Mr. Jeff Harnar has placed so much belief in me… I am honored, but that too, is a lot to live up to. (And frankly, I think if a young performer like myself is sharing a bill with Marilyn Maye and they’re not at least a little nervous, you might want to check for their pulse). Thankfully, though, since I opened the show, the band-aid was pulled off relatively quickly and I got to spend the rest of the evening soaking in how cool it all was to be there with some of New York’s finest performers and all of these people who really shared the love of the American songbook. It almost felt like being “enshrined” as a member of the cabaret community.

My memory of this performance, though, will probably always center on the great Danny Bacher, who we lost later last year. Danny joined me for my number (“You’re Never Fully Dressed Without A Smile”!), playing a mean soprano saxophone and singing a Rhythm Boys-inspired harmonized scat chorus with me. He was a consummate musician and showman, and so much of what he was is what I aspire to (not to mention he was one of the kindest, most endearing guys you’ll ever meet). What a blessing to have shared that moment with him. I am still struggling with this unimaginable loss. 

Aside from planning this Birdland show, what have you been up to lately?

As a sideman, I’ve been playing with a variety of traditional jazz bands such as the Rivertown Vintage Jazz Band, Drew Nugent and the Midnight Society, and Buck and a Quarter. This past year, I wrote and recorded a series of original music and lyrics for the serialized audio drama “The Town with No Name,” which, as of last month, has been released in its entirety! When invited, I provide and perform original songs for Ayun Halliday’s hit variety show, “Necromancers of the Public Domain.” I am also an original and current member of “The Wayfaring Strangers,” a troupe led by Greg Kotis (Urinetown’s librettist and lyricist) that performs improvised bluegrass musicals and appears regularly at The PIT. I am also a working freelance visual artist and illustrator.

Do you have any goals for 2025 so far?

For one, I am really excited to be working on a new passion project with the extraordinarily musician Mike Davis, presenting a program of material that Cliff Edwards recorded with cornetist Red Nichols in the mid-1920s. We are set to debut at Birdland this September.

Is there anything else you’d like to add?

I’m just really appreciative of everyone out there who has embraced me and shows up to my events with so much love and enthusiasm. That doesn’t go unnoticed. It’s what keeps me going, really. 

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Follow Bryce Edwards on Instagram here to learn more about him.

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