Review: Ann Hampton Callaway Gracefully Celebrates Fellow Female Songwriters in Her Annual Thanksgiving Week Show at Feinstein's/54 Below

Ann Hampton Callaway's new Thanksgiving week show at Feinstein's/54 Below (what has become an annual holiday appearance), Feminine Persuasion, celebrates women songwriters who excel at the craft, one of the few creative sectors where men have not held them back. Covering the waterfront, her selection includes, in part, Peggy Lee, whom she calls "the first singer/songwriter" (perhaps the first highly visible and successful one), Carolyn Lee "a secretary who didn't know how to take dictation," "optimistic" Dorothy Fields--the first woman to win an Oscar for a song--and baby boomers Carole King and Joni Mitchell, and current pop star, Adele. "These women were/are trailblazers who broke through with their own voices."

Callaway is in fine voice and exudes happiness. Serious numbers are few. The show reminds us of her preeminent scatting ability, the subtle, seemingly effortless, jazz baby octave changes, and her controlled lungpower that imply there's a hidden tube piping in oxygen from elsewhere. Imperceptively directed by Dan Foster (that's a compliment), she's warm, graceful and present.

"I Love Being Here With You" (Peggy Lee/Bill Schluger) is low and swingy; Callaway's right hand finger-snaps. The song's tone evokes narrow lapels, full skirts, and martinis. A very hip (remember that word?) arrangement of "Witchcraft" (Carolyn Leigh/Cy Coleman) features lots of percussive brushwork (Tim Horner on drums) and commenting bass (Martin Wind). Consonants like ssss, shhhh and ffff sizzle. It's an emotionally appreciative take, not the usual breathy, romantic exposition.

Featured highlights: The up tempo rendition of Nancy Hamilton/Morgan Lewis' "How High the Moon," a signature number for Ella Fitzgerald, showcased Musical Director/Pianist Ted Rosenthal's stunt-flying keyboard, the artist's own lyrics in tribute to Fitzgerald and Callaway's inimitable, top tier scat. Re jazz singers, the performer comments, "It takes something special to do it in the moment." Sure does, Ann.

It was almost April/We were almost young, she sings during "Almost," that Callaway wrote with Amanda McBroom. It's a beautiful fox trot or slow cha-cha, wistful with gravitas; the feelings of a woman, not a girl. Callaway vocally savors memories. A version of Joni Mitchell's classic "Both Sides Now" also indicates a more experienced and here, somewhat world weary point of view than that to which we've become accustomed. Wind's echoing, bowed bass and Callaway's haunting keyboard flourishes give it richness. "Joni Mitchell was 21 when she wrote this. Years later, when she saw Mabel Mercer do it, she said, Oh, this song is for older women."

Much as Callaway effectively executes "God Bless the Child" (Billie Holiday) with hip-swinging spirituality that might as easily be set hanging laundry as at a back alley speakeasy and astonishing, authoritative legato, the song has become over-exposed. Inflection for "Someone Like You" (Adele Adkins/Daniel D. Wilson) becomes rock to the extent of illogically breaking up lyric lines. The number is young, angst-ridden, and universal. Heads bob. This one bears little of Callaway's own stamp, reflecting the author's original rather closely. Arrangements arrive a bit too similar to one another during this particular show.

After we've all joined/swayed to choruses of Carole King's "You've Got A Friend," the evening closes with "Love and Let Love" (Michele Brourman/Callaway). No one tells the sun not to shine/Or tells a flower it's not allowed to grow . . . A "Kumbayah" song, brimming with warm feelings for humanity during these times that try men's, and perhaps, especially, women's souls, the finale is an appropriate prelude to Thanksgiving.

Ann Hampton Callaway presents Feminine Persuasion: Ann Hampton Callaway Celebrates Women Songwriters at Feinstein's/54 Below on November 23, 24, 25, 27 and 28 all at 7 pm, and on November 26 at 8 pm. www.54below.com.

Photos by Walter McBride

To post a comment, you must register and login.