Review: Ella Mae Dixon Casts a Spell in Her Debut at 54 Below

Ella Mae Dixon’s 54 Below debut on Friday, March 7th, was a crisp and fresh jazzy affair. The show was a celebration of skill and a tribute to the venue with which Dixon was in love before ever setting foot on the stage. The Cape Cod native spoke of growing up in Wellfleet and feeling far away from the famous stage while listening to one of her favorite albums, Patti LuPone: Far Away Places - Live at 54.

The show starts with a jazzy rendition of Jerry Herman's “Hello Dolly”, expertly arranged by music director and pianist Matt Baker with the other trio members, Daniel Glass on drums and Tony DePaolis on bass, skillfully grooving along.  Dixon scats towards the end of the number, displaying her defined style and skill set, which only diversifies as the evening unfolds. The robust arrangement sets the expectation for an evening full of jazz riffs, runs, and exciting cadences. 

Dixon launches into the next song, Nat King Cole's, “Errand Girl for Rhythm”,  and lets the lyrics speak for themselves: “Tell you what it's all about/It is without a doubt/Swing in the latest style/If you want to swing and shout/Get your heels and get about.” The trio jives together with fast-paced aplomb, and Baker lets his hands dance on the keys, cohesive and delightful. It’s clear that Dixon and the trio are having fun, and the energy is contagious.  

Dixon shares that she’s feeling happy tonight and that the next song, “Chega de Saudade,” means “No More Blues.” Dixon introduces herself after this number as Baker playfully underscores her story. She speaks about growing up in Wellfleet, her favorite moments in the town square, and her yearning for her beautiful childhood there, which is still close but inevitably slipping away. 

“A Kid Again/Waltz for Debby,” cleverly arranged as a medley by Baker,  casts a spell over the room; the number is a dreamy, buttery medley, reverent and somber, not sad. Afterward, Dixon jokes with the audience, “That’s enough of that." As Baker launches into “Let the Good Times Roll,” suddenly it's a party, and the music is hopping. 

Dixon has a self-professed love for a bygone era, and the reverence comes through in each number and throughout her banter. She shares anecdotes about crying so hard at a Marilyn Maye concert (at 54 Below) that Maye asked if she was okay afterward. 

Jazz scats, vibrato, heartfelt dramatic interpretations, comedic delivery and crystalline clarity. The arrangements show off Baker’s skill in balancing the numbers with spotlights cleverly showing off DePaolis in “You & The Night & The Music” and an enchanting solo for Glass in Antônio Carlos Jobim and Jon Hendricks's “One Note Samba,” which hit all the right notes in its pacing and panache. 

Dixon has excellent control and beautiful vibrato,  which she showcases in the Bernstein Broadway classic, "Maria," which builds beautifully, Baker and the band caressing each note with cohesive nuance. 

Dixon is a natural comedian with poise, dry wit, and comic timing reminiscent of a young Barbra Streisand. She tells a story of being in Paris and having a man give her a note; she reads it (although it's written in French, she’s not impressed) and says to the audience, “All right, whatever.” The man's friend then approaches her and tells her what it means. “Your smile is where the sun rises.” She delivers this wryly, getting the audience into stitches, “First of all, that doesn’t make sense.” She then bids the man's friend adieu, and now the lady next to her has something to say, informing her that it’s a French series on Instagram where men give a stranger an uplifting note and film their reaction to “spread positivity.” The audience is howling at this point. Dixon introduces the next song. “Home Blues” by Ira and George Gershwin, as “When you know it’s time to leave Paris.” 

The last number is another clever medley of “It’s a Big Bad Wonderful World” by John Rox mixed with “Almost Like Being in Love” by Frederick Loewe and Alan Jay Lerner.  Baker and Dixon are seamless here with Glass and DePaolis, infusing the familiar melodies with a glossy luster. Of course, it’s not the last number as the audience goes wild for an encore, “When You Wish Upon a Star,” which is a lovely end to the beautiful 54 Below debut. 

After such a powerful debut, one might wonder what is next for the performer. It’s certain she will return, as will the audience, to this famous venue again, and it’s not far off to surmise that maybe someday a young aspiring star will say she was crying in the audience watching her. Dixon, only 21, has a bright future ahead. A debut of this caliber is surely indicative that the best is yet to come. Carnegie Hall?

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Learn more about Ella Mae Dixon at www.ellamaedixon.com

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