Review: Linda Eder Has Star (and Lung!) Power at 54 Below

At 54 Below on January 12, strikingly strong vocal lines seemingly poured out of Linda Eder in a manner that could also describe the easy, matter-of-fact, professional way the wait staff had in smoothly refilling the customers’ water glasses. Both kept at it without a drop of trouble.  If skill, musical chops, and charm were measured in fluid ounces, this star has it in gallons.  I’ll drink to that!

Having been in her audiences before and knowing her recordings, of course, I was not surprised.  Most people in the room knew what to expect, too.  That’s not just a guess.  Early on, she asked for a show of hands to see how many people were in that category and then when she requested that the first-timers raise their hands, there weren’t very many.  Addressing them, she offered this terse, tongue-in-cheek intro: “My name is Linda Eder and I’m a singer.”  She queried established fans as to whether they’d seen her since she let her hair go silvery-gray during the pandemic.  Glancing at her band of veteran musicians, she jokingly said that she made that choice so that she would “match the band.”  The in-demand, excellent players had some tasty solos within arrangements, such as in the breaks they played in a frisky “Charade.”  Although I prefer that Mancini/ Mercer movie title tune as a haunting ballad, I must admit I was glad to hear the men with another chance to dazzle.  So, three cheers for the four men: David Finck on bass, Aaron Heick on woodwinds, Eric Halvorson on drums, and the invaluable Billy Stritch as leader on piano and featured on vocal duets in various styles.  In nightclub tradition, the top of the piano also became the top songstress’s seat a few times on ballads, for a break from belting (a gentle, involved “Alfie” was exquisite).  

At 54 Below, which calls itself “Broadway’s living room,” nestled in the theatre district, it’s always right for the acts to “give their regards to Broadway.”  This night was no exception and the chanteuse’s choice of something from the one book musical she appeared in on the Great White Way, was a no-brainer: “Someone Like You,” still a knockout.  Lamenting the fact that some of the showtunes she loves were written for and introduced by male performers, she made it clear that such a pesky detail doesn’t stop her from doing them.  So, she did, as this fair lady launched into “On the Street Where You Live,” became emotional and prayerful for “Bring Him Home,” and belted the mighty “Man of La Mancha” and Wonderland’s “The Mad Hatter.”   

In this intimate club setting, Linda Eder is an entertainer who has a relaxed, non-diva, down-to-earth approach, casually kibbitzing with the crowd and the musicians on stage.  It’s called respect.  And respect for singers who came to lasting fame informed many of her repertoire choices, as the first half of the very full program was made up almost exclusively of salutes to admired legends (mentioned by name) who have passed on in recent years (Tony Bennett, Loretta Lynn, Aretha Franklin, Steve Lawrence & Eydie Gorme). She also paid respects to two superstars who died much earlier: a quick nod to Frank Sinatra with “Fly Me to the Moon” and major time and prime placement to her major/initial inspiration, Judy Garland, with medleys that opened and closed the program. 

Sometimes (not always), the singing and basic shape/tone/tempo of the “tribute” numbers were clearly based on the blueprints of those superstars’ versions. Reinvention and personalized reinterpretation was not really the situation.  A cynic might call this approach lazy and disappointingly predictable – or to use dated terms, a “paint-by-numbers” or “carbon copy” M.O. — but Linda Eder invests so much energy and panache that she does not risk seeming to be on automatic pilot or crooning to a hokey karaoke track. The implied disclaimer is that the choice is to take the route of a fond homage with some purposeful adopting of superstars’ renditions’ details.  It might be more subtle than slavish. In other words, “Fly Me to the Moon” ends with the signature instrumental Count Basie ending, but the various little lyric substitutions and embellishments Sinatra employed and enjoyed in some of his performances of this were not sprinkled in. On the other hand, “Side by Side” had more than a side order of the extra verbiage unique to the Steve & Eydie treatment and lovingly took on other elements of that cute old arrangement (by Don Costa, released on record in 1960, one of their career-long standbys).  It was fun galore, one of the numbers shared vocally with pianist/singer supreme, Billy Stritch.  But the influence of other artists’ treatments wasn’t restricted to the version by a deceased icon. “Before the Parade Passes By” from Hello, Dolly! didn’t march to the Broadway beat as introduced and revived by the late Carol Channing, but the first section especially resembled its slower, pensive performance by the still-very-much-alive Barbra Streisand in the movie version, in the phrasing of the lyric, handling of some notes, and handle-with-care tender treatment that then gets BIG.   

Linda Eder knows how to please a crowd. Her song choices are accessible and so is her personality; she retains proven powerhouse picks from past shows and albums, freshens the musical menu with standout standards that have history to cue other memories.  Her hair may be silver, but her voice remains golden. They shine like a star.  And she definitely is one. The star will be back at 54 Below on February 24 and March 15.

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For more information on Linda Eder, visit her website at www.LindaEder.com 

Get tickets to Linda Eder's upcoming 2/24 and 3/15 performances and more on 54 Below's website at www.54below.org

Photo credits: solo picture of Billy Stritch by Conor Weiss; other photos by Stephen Sorokoff

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