Review: Jane Monheit Enchants Birdland Audience With Excellent COME WHAT MAY Concert Running Through April 30th

Last night, during her Birdland appearance, Jane Monheit mentioned (casually and without remorse) that she has never had a Grammy Award nomination; she did this just before outlining something in her life that has proven to be much more rewarding, much more significant, and much more fulfilling. First of all, bully for Monheit for keeping things in perspective and putting that perspective in the light. Secondly, in the opinion of this writer, not only does Jane Monheit deserve all the nominations, she deserves all the awards. And, finally, Jane has won something better than awards: she has won hearts, and devoted ones, to say the least. That is because Jane Monheit is, in simplest terms, the best.

Anybody who has spent any amount of time listening to Jane Monheit sing, via her recordings, knows the exquisite nature of her vocal talent: this is one of the most naturally rich voices to be found in the music industry, something that Ms. Monheit got when she won the genetic lottery that gave her the instrument in the first place. What the jazz proficient does with that voice, though, is all on her. The interpretive skills and technical training on display when Jane Monheit is on the stage are truly awe-inspiring and (by all appearances) as easy for Ms. Monheit as cutting an ice cream cake with a hot knife. For seventy minutes last night Jane Monheit didn't just sing her face off, she entertained her rapt audience with infectiously irresistible chat, occasional playful and sexy dance moves, and some deeply emotional performances. In short, Jane Monheit was on fire last night.

COME WHAT MAY isn't just the title of Ms. Monheit's Birdland show, it is the title of her latest album, and that is what this week at Birdland is celebrating. And although most of the program is selections from the album, Monheit makes sure to keep things fluid by throwing in some favorite material from previous albums, and an occasional surprise, as was the case when scary-good Musical Director Michael Kanan chose, on the spot, for the longtime duo to perform "Spring Can Really Hang You Up The Most" - a shame because the mere fact that he chose the number for her on-the-spot means that other audiences may not get to experience what was, for this writer, the highlight of the evening. Even though Jane's program of music from the stage (and some of the screen) was flawless from start to finish, there was something special about this one performance, from start to finish: Michael and Monheit must have a long history with the composition - it shows, and it is breathtaking.

Not to diminish the rest of the club act, one filled with exciting solos from bassist Neil Miner and drummer Rick Montalbano (who happens to be Monheit's husband, hence the adorable flirting throughout the program), and one that shows newcomers to the live Monheit experience (hello!) what a fun lady Jane is. Casual with her conversation, Jane leads with honesty and candor, humor and style, and seeing her live is a treat, if only to see the depth of emotion witnessed when she stops to take in the work of the men she called her absolute best friends. To see someone express such ardor for their colleagues and artistic family is a beautiful thing, on a par with the experience of enjoying the artistry that they create.

And about the artistry...

Monheit and her trio of musical magicians may be focusing on Broadway and movie music but the evening never veers into the Twee lane (which, in the hands of some performers, is a possibility). With sleek treatments designed to keep the program intellectually stimulating while emotionally visceral, the music swings from festive (opening number "I Believe in You") to dreamy (an impeccably performed "Ordinary People" by Frank Wildhorn) to exhilarating (a swelteringly swingin' Judy Garland medley). And, on the topic of the legend whose music is everywhere during her centenary, Jane Monheit is treating audiences to one of the best performances of "The Man That Got Away" to come along in a long, long, time - speaking personally, this Garland devotee never needs to hear anyone sing that song but Judy... but not last night. The number, alone, was worth the journey out of the house into the chilly night air of springtime in New York.

Although Ms. Monheit's evening of entertainment is all exceptional, there comes a special moment when the iconic artist shares a personal tale about an idol, a hero with whom she has worked, what he has meant to her, and why a collaboration with Ivan Lins is the true award of her dreams, and the ensuing musical number is a mass of beauty and sensuality that will leave audiences even more besotted with Monheit than they were, only a few minutes earlier... if that is even possible. Spoiler alert: it is possible. And Birdland audiences have the chance to test this theory for three more nights - TWO shows nightly. Two shows. Nightly.

Test the theory.

Go.

Jane Monheit COME WHAT MAY plays Birdland April 28, 29, and 30 for two performances each night. The performance times vary, so check the Birdland website HERE for exact information and reservations.

Jane Monheit has a website HERE.

Jane Monheit gets a five out of five microphones rating for performing her entire show without the use of a lyric sheet, tablet, or music stand.

Photos by Stephen Mosher

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