BWW Reviews: Steadfast Fans of Iconic BARBARA COOK Are 'On Her Side' at Lincoln Center's American Songbook

"Are You Havin' Any Fun?" the formidable Barbara Cook breezily asks in song with the intimacy of an old friend. Having had her first paid (50 cents) singing job at the age of eight, Cook looks back on a lengthy career feeling lucky. It's been weeks since she's sung due to health issues laying her low, but Cook is not, she assures us, by any means down and out. "I like to feel people are on my side and you sure sound like you are." Throughout her show last night as part of the American Songbook series at Lincoln Center's The Appel Room, the artist performs with honesty, commitment, and the compelling interpretation for which she's well known. She asks that lights be turned up in order to see those with whom she communicates.

Richard Rodgers/Lorenz Hart's "Where or When" embodies excitement, confusion, and hope. Cook imbues the lyric with immediacy. She makes demands on her vocal rather than utilize parlando. "Makin' Whoopee" (Walter Donaldson/Gus Kahn) is light and easy. Her right foot taps. When the judge in the song says "You better keep her I think it's cheaper (Then makin' whoopee)," she gets a laugh out of an audience predominantly familiar with the lyric. Cook can do that.

"Georgia" (Hoagy Carmichael/Stuart Gorrell) with sassy piano by the excellent Lee Musiker (also Cook's Musical Director) arrives lower register. The vocalist slides an occasional octave as if teasing; "smile" actually arcs. When the band comes in bigger, two contralto high notes soar. Tandem performance of "The House of the Rising Sun" (traditional), which begins with pristine acapella, and "Bye Bye Blackbird" (Ray Henderson/Mort Dixon) both, she reminds us, about whorehouses, are hymn-like, commanding. In the latter tune, piano chords act like stepping-stones across a pond.

Having found Cole Porter songs generally "too sophisticated and arch," Cook has mostly eschewed them. Musiker's arrangement of "I've Got You Under My Skin" convinced her to add to her repertoire. The song caresses. A light cymbal and unceasing helixes of ostinato piano swirl. Rhythm is like breathing. The singer's silky delivery is completely persuasive.

Patter about her friend, Stephen Sondheim ("THE Stephen") precedes rendition of "No One is Alone" from Into the Woods. Recently, the lyric "Sometimes people leave you/Half way through the wood" began to resonate with Cook. "People die or decide they just don't want to be with you anymore," she tells us searching faces before her. Listen to me, she seems to say, listen, I know. Accompaniment is hushed as shadows. The song is pure, lucid, moving. Images of giants and witches do not seem foreign.

"This Can't Be Love" (Richard Rodgers/Lorenz Hart) and "I Got Rhythm" (George Gershwin/ Ira Gershwin) are up-tempo and chipper with short, piquant phrasing. The no- nonsense Cook doesn't bother with nonessentials. "Here's to Life" (Artie Butler/Phyllis Molinary) comes from the gut. "As long as I'm still in the game, I wanna to play" she sings, seemingly unconsciously raising the hand on her knee to make a determined fist. An encore of John Lennon's "Imagine" is sure-footed and heartfelt. The Appel Room is complicit. These are her people.

Photos by Kevin Yatarola

Dave Riekenberg-Saxophone, Woodwinds, Jay Leonhart-Bass, Warren Odze-Percussion
February 28, 2015

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