Review: David Marino's show at Birdland Was Passion Plus Pow

A crooner with charisma, a vocalist with versatility, an old soul with new energy: that’s dynamic and delightful David Marino, with a powerful voice, radiating star power.  His first-ever concert at Birdland in March 2024 was a knock-your-socks-off socko success, and so was the captivating Canadian’s rapturous return there on December 30th.  At the risk of hyperbolic praise (or is it already too late for that?), he may have made a bigger splash at the West 44th Street venue than the splashing by thousands of revelers in the same neighborhood the next night, as they sloshed through the plentiful puddles resulting from the drenching rainstorms. Young Mr. Marino (he’s in his mid-20s and his natural beaming boyish charm shows no sign of waning) also drew a big crowd – the show was sold out – but better weather.  However, you could say that it was, metaphorically, meteorologically similar: the applause was thunderous and the excitement flashing through the room was not unlike lightning. 

So, what’s so special about this guy? Well, for starters, he is equally entertaining and comfortable singing in various languages and switches easily back and forth among styles and genres: finger-snappin’ swingin’ nightclub zing; intimate cabaret balladry; jazz-inflected stylings; and authentic operatic grandness. And, quite gratifyingly, he can sing big and bold without ever being harsh or shrill or sounding forced and his gorgeous, sustained head tones are never wispy, wimpy, or wavering – they’re always worth savoring.  He’s confident without being cocky, smooth but not slick, and his enthusiasm is never enervating. David Marino wisely neither overplays the youth card nor plays to the room as if he were a long-careered pro with nothing left to prove. He’s vivacious, but gracious.   

Bright-eyed and bright-voiced, with a bright smile, he began his set with upbeat tunes written for movies between 1933 and 1948 –  “I Hear Music”; “Hooray for Love”; “Let’s Fall in Love”; “Lullaby of Broadway” – and the 1951 novelty hit “Come On-a My House,” an early hit for Rosemary Clooney.  That one was written by two cousins who found fame in other ways; they were novelist/playwright/Pulitzer Prize winner William Saroyan and Ross Bagdasarian.  The latter later found fame sharing the spotlight with characters created via his own sped-up recorded voice as The Chipmunks, taking on a pseudonym with the same first name as Mr. Marino – David Seville.  Like two other singing Davids in 2008 (Cook and Archuleta) who grabbed the attention of TV viewers when they were “American Idol” top finalists, David Marino gained notoriety on a televised singing competition: in 2017 on “La Voix,” the Canadian version of the show called “The Voice” in the USA. He came in third place. 

Some of the repertoire in the set followed some of the patterns set in his March program (and/or an earlier appearance in Manhattan at Chelsea Table and Stage and other gigs I’ve read about) and he was joined by two of the musicians from his March Birdland night: drummer Daniel Glass and pianist/music director (and vocal duet partner for one number), Billy Stritch. Also on the bandstand were bassist Steve Doyle and guitarist Jeff Barone – a great team, for sure. Songwriters whose work was returned to, for three quite romantic reveries, included composer Michel Legrand, Irving Berlin, and the Gershwins.  Respectively, their samplings this time were “I Will Wait for You” (in English and French), a warmer embrace of what Ethel Merman introduced as “I Got Lost in His Arms” (letting the audience get lost in his charms); and “Love Is Here to Stay.” That one surprisingly became a duet after a long section of Marino as soloist, so Stritch's switch to singing partner with this particular pick was dramatically a somewhat odd choice for a vocal pairing.  But I must say the blend was blissful and it’s always a pleasure to hear the multi-talented veteran play piano or raise his fine voice in song. And unsurprisingly, the keyboard work and musical direction throughout were top-notch. 

The performer showed his personality in comments enthusing about a recent trip to Europe, fondness for his supportive family, and genuine appreciation for performing opportunities (“Grateful”) and a couple of amusing quips about his childhood.  A little more talk would be welcome, and may come as he has more life experiences.  

David Marino is a refreshing, rather rare all-around entertainer --- the kind that doesn't come around very often. And while he shines showcasing classic material associated with his role models, appropriate to acknowledge, I look forward in the future to hearing him tackle some lesser-known gems and hearing the debuts of quality songs that may be written for him. (With his sound, style, and excellent diction, he’s a songwriter’s dream.)  The eclectic set made room for the dramatic “O Sole Mio,” a comedy number (“It’s Oh So Quiet”), a robust “Granada,” Edith Piaf trademarks (partially or completely in French), and the sway of “One Note Samba” (in English, not the original Portuguese). I suppose some American audiences would prefer not quite so much non-English content, especially if they don’t have some familiarity with the other languages or the specific songs.  But the emotions come through clearly.  And with a singing voice that is so pleasing, fortissimo or dolce, I’d be fairly content to listen to this guy even if the lyrics were in Klingon.

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Photos by Kevin Alvey. See his full set of on-stage and offstage pics from the night here.

The singer’s website is    www.davidmarino.net

Find more upcoming shows at Birdland on their website at www.birdlandjazz.com

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