Ricky Pope - Page 8

Thanks to the successful vaccines and the re-opening of clubs and cabaret rooms, we are starting to see a slow return to the normality of gathering to hear the work of fellow artists. I was privileged to be at such a gathering this afternoon when I attended the PANGEA SUNDAY OPEN MIC & JAZZ BRUNCH. Jazz Brunch was created before the pandemic by multi-award-winning cabaret artist, Sue Matsuki and her awesome musical director and composer, Gregory Toroian. And it is back with a bang, playing to a sold-out house.

Travis Moser is a gifted storyteller as well as an excellent vocalist, as he proved many times in the evening. Most notably in “The Moon’s a Harsh Mistress. It is a very poetic lyric that he delivered with great emotion. He was also particularly effective in Jimmy Webb’s “Still Within the Sound of My Voice,” which opened this show. He found a wistful energy in “Adios” and brought some world-weariness to “I”m Blowing Away.” I especially enjoyed his reading of “What’ll I Do?,” the Irving Berlin tune from Ronstadt’s popular “What’s New? album.

It’s hard to pinpoint the proper musical label for Zen Brother. The closest I can come would be to call their style ‘“jazz fusion.”  Although what the jazz is being fused with changes from piece to piece. The set I heard contained influences from salsa, funk, R & B, swing, and New Age. And despite their moniker, zen is not really accurate. They are exciting and lively and full of energy.

Aaron Lee Battle and Jon Weber are a testament to one of the things that make New York such an amazing city: the artists who call this place home are working at the top of their game and are always moving the goalpost toward something finer, something more challenging, and something more beautiful.

“Gay country singer' are not always words that fit neatly together, but Falduto, also a certified life coach, has integrated all the parts of that label quite nicely. His act is not only about good music, it is about being empowered to be your highest self.

NICOLAS KING: HINDSIGHT IS 2020 was 70 minutes of awesome jazz technique, great storytelling, and honest showmanship. He acknowledges his musical influences with love and gratitude: Mel Tormé, Charles Aznavour, Fred Astaire, Carol Burnett, and most especially his mentor, Liza Minnelli. Their work shows up in his style, but in the end, his style is all his own.

But for all the goody-two-shoes exterior, there’s a devilish glint behind the eyes that hints at something darker. He only lets it out once in a while, but it’s exciting when he does. Sikes is known for his shows honoring Judy Garland and Liza Minnelli. He brings much of their full-throated, show-biz savvy his own performance style. 

Natalie Joy Johnson sent the crowd home happy from The Green Room 42. Happy and hysterical.

John Zisa, an alumnus of American Idol, has deep roots in gospel and R&B and this album is steeped in those traditions, even though the songs are mostly covers of pop tunes. What unifies the 13 tracks is a longing for connection and a belief that love, while often elusive, is our best hope for dealing with the trials of life. It is all filtered through a laid-back style that is introspective and thought-provoking.

I’m not sure if Farah Alvin intended it, but her show is not only about the music of the ’70s. It is also about all kinds of out-of-control love. The sort of obsessive passion that fueled the cynical Watergate decade. The music was theatrical. This makes it a perfect fit for Farah Alvin’s considerable acting skills.

Eden Espinosa uses the word “vibe” a lot in her casual banter. And her show does feel a lot like vibing in her living room. It’s not every singer that could thrive under those conditions, but Espinosa is perfectly at home. She has the hallmark of all great singers. She is able to make you feel as if she is singing each lyric to you and you alone.

Alice Ripley’s gift as a performer has always been to lead with vulnerability. She doesn’t so much sing songs as she inhabits them. There is always a rich inner life going on. She’s one of the most authentic performers you’re likely to see because she's one of the most authentic humans you’re likely to find.

Dawn Derow lit up The West Bank Cafe with a very eclectic mix of favorite golden-age Broadway standards, newer Broadway sounds, pop songs, and even a touch of the operatic. Ms. Derow has a voice that is warm and as comforting as an old friend. She is capable of soprano arias and smokey torch songs and navigates both equally well. I was particularly impressed by her Bassa-nova-tinged version of George Benson’s “This Masquerade,” and her Sweet Dreams,” in which she managed to evoke Patsy Cline without imitating her.

“Dinner music” is really too small a term for what Billy Stritch is doing at the West Bank Cafe. That implies something that’s occurring in the background. His smart jazz arrangements of classics from the Great American Songbook are very much front and center.

The Boy Band Project and The Green Room 42 presents BOY BAND BRUNCH every Sunday at 2 pm. It is a loving tribute to, and a sly send-up of, the boy bands from the 1990's we all loved, lusted after, and laughed at. These guys work harder than any brunch server in the city.

The Skivvies bring the fun back to New York nightlife with their new show at The Green Room 42. Lauren Molina and Nick Cearley create a rocking evening of pop songs, show tunes, mash-up, and parodies that is the best party in town.

As the final concert of three, Melissa Errico and Adam Gopnik premier their evening for the French Institute; Alliance Française, IL PARLE, ELLE CHANTE, PART 3: MYSTERY. It is a treat for the music lover, the knowledge lover, and the francophile.

Award-winning jazzman, Ted Nash, and legendary actress, Glenn Close have teamed up to create an inspiring album of jazz and spoken word pieces in TRANSFORMATION: PERSONAL STORIES OF CHANGE, ACCEPTANCE, AND EVOLUTION. Recorded live as part of the Jazz at Lincoln Center series, the album is a triumph that showcases two great artists speaking with one voice.