Review: Marilyn Maye's Run (ending on New Year's Eve) Is a Smash at Birdland

As a musical antidepressant for the anticlimactic period post-Christmas, a kind of cure for the curmudgeon, and a pep-filled panacea for pessimism, I highly recommend Marilyn Maye’s happy high-energy engagement. I saw the late set on her opening night, December 27th. The high kicks in her carpe diem anthem “It’s Today” (Mame) and the song itself, which opened the set, are emblematic of her sunny attitude, shining even more than the major amounts of sparkly silver in her black top and jewelry. This sensational singer is in celebrational mode and her bright stylings are worth celebrating — as is she. When she puts “Put On a Happy Face” before the audience, we could be facing a firm command or a friendly suggestion – but, coming towards the end of the show, the desired effect is already a fait accompli. She’d already blanketed Birdland with joy, like a snowfall that would make for a white Christmas, just like the ones I used to know. If your Christmas wasn’t quite as merry as hoped or your happy Chanukkah feeling wasn’t yet as aglow as menorah candles, Marilyn Maye’s mirth and music could brighten the nights before New Year’s Eve… or New Year’s Eve itself. That’s when her run concludes, with two shows that final night of 2024.

Her career in the new year will continue on January 4 in a grand way with a show at the Grand Opera House in Texas. That’s the state where she once starred in outdoor summer productions of Hello, Dolly! She included a ballad from that musical, “It Only Takes a Moment,” and took a moment to share memories of that experience and of recording a full album of the score. This was cued by a recent reunion with a cast member who attended one of her cabaret performances. (Fun facts: Kevin Alvey, who is a regular photographer for Birdland shows and whose terrific pics accompany this review, is someone she’s maintained a connection with since they shared the stage in Hello, Dolly! He played the major supporting role of the clerk named Barnaby Tucker.  And Tucker was the surname of one of Marilyn Maye’s husbands – Sammy Tucker, the pianist/bandleader heard on her gigs of yore and early albums. Daughter Kristi Tucker, a professional performer and vocal teacher herself, came in from Kansas for the holidays and was in the audience.) 

 As per usual, the set list mainly consisted of standbys that have been consistently pleasing the legions of Maye devotees for years. Masterful medleys with much momentum make the music move without pause or cause for applause. This night featured the combination platters of songs about rainbows, smiling faces, and classics connected to Fats Waller.  But she also included a suite of standard songs reflecting on romance, the result of a recently requested performance for newlyweds. (No sad selections, of course!)  

Maye's musical muscle remains strong and solid, belting out endings, bendings of notes for jazz embellishments, to socko effect. Equally striking were riveting passages when she began something a capella, demonstrating her focus and command.  The groove created when she is accompanied by just the bass of the talented Tom Hubbard on “I’m Gonna Sit Right Down and Write Myself a Letter” is worth writing home about, as is his elegant bowing on “My Romance.” Drummer Daniel Glass didn’t merely keep the beat, but found variety in sounds, using mallets, and building to climaxes.  Pianist extraordinaire/trio leader Tedd Firth is a titan at the keyboard, and his flourishes and song-sculpting had more out-and-out drama and fun than in past performances with the star where more subtle or dazzling jazz stylings were more in evidence. 

 The playful chemistry between pianist and singer is strong and comfortable, sometimes leading to cute halts to acknowledge his musical quotes (such as a bit of the French national anthem) or prominent features of a series of chords that delight her, which she might encourage him to repeat before they move on.  The set length is generous and energy never lags, and the lady never rests on a chair or rests on her laurels, but her fond audience is also entertained by what she has to say and, I think, has an appetite for more of that, judging by the response to her quips and passing references to interesting experiences.  My attendance at many of her shows over the years, where she regaled the crowd with some anecdotes and observations, reinforces that feeling.  However, although my plus one was a Maye first-time attendee (and new, belated convert), it’s abundantly clear than many, many in the star’s New York crowds are loyal fans and friends with frequent flyer miles showing up at her shows time after time, gig after gig, so maybe she feels they know her and know her background and best bio bits and just want to hear her perform, assured of enough time to likely include their most favorite fare.        

    The act on opening night saved the most serious and emotional content for the end, with her go-to choices for grown-up gravitas (“Guess Who I Saw Today” and “Fifty Percent”) and the life-affirming philosophies with the word “life” in their titles (“The Secret o’ Life” and “Here’s to Life").  And, as a nod to the calendar, she included “What Are You Doing New Year’s Eve?” and added some extra words she wrote herself. Here is an excerpt: “It could be friendly and so fine/ If together we could sing ‘Auld Lang Syne.’” And then, as you might guess, she asked us to do exactly that.  Well, we know what she and her superb trio are “doing New Year’s Eve”: an early show and a late show at Birdland, to complete their radiant run. 

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All photos by Kevin Alvey

For tickets for this engagement and other events at Birdland, visit their website at www.birdlandjazz.com

For more about Marilyn Maye, see her website at www.marilynmaye.com

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