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“Songs For a Summer Evening: Bennett, Cole, Mathis & More…”
Feinstein’s At Loew’s Regency ~ August 7, 8, 2009
With energy, conviction and plenty of swing, baritone Allan Harris, debuted at Feinstein’s with an up-tempo, “What a Wonderful World” (BobThiele-George David Weiss). Harris possesses a plush baritone vocal tone that sits squarely in the easy-flowing Nat “King” Cole school of jazz singers. That is certainly a plus.
The velvety voice, however, is just one part of this performer’s appeal. While his voice is reminiscent of Cole, his jazz twists and Dan Kaufman’s fresh arrangements highlight Harris’s own outgoing personality and deep musical sensibilities. For example, there is a quirky freedom in phrasing the line, “I see friends shaking hands saying, ‘How do you do?’” and punctuating the last four words – “How. Do. You. Do?” His playful interpretation contemporizes the tune, which is strongly identified with the 1968 Louis Armstrong rendition, and made popular all over again almost 20 years later in the film “Good Morning, Vietnam.” The song is also included in one of Rod Stewart’s CDs, but enough about that lifeless version.
At the top of the show, Harris stated that he was going to celebrate the male balladeers, each influencing the next singer to come along. Good idea, and there is a strong list to choose from. Harris chose Billy Eckstine’s 1951 hit, “I Apologize” (Hoffman-Goodhart-Nelson), originally recorded 20 years earlier by Bing Crosby. Harris’s pitch is not as deep as Eckstine’s but it is lushly seasoned and transmits a wallop of emotional heat.
“All Right, Okay, You Win” (Sid Wiche) – Joe Williams was not known as a balladeer, but get out of the way for his potent swing. Harris’s lusty vocals and his vigorous quartet saluted Williams and the Count Basie energy that made this swinging evergreen so popular.
Johnny Hartman believed that there’s nothing to do with a great song but sing it. His jazz feeling never interfered with the song’s intention. Harris delivered two from the Hartman-Coltrane CD, Irving Berlin’s “They Say It’s Wonderful” and Rodgers and Hart’s sumptuous “You Are Too Beautiful.” These were arguably the show’s highlights, displaying Harris’s dulcet, smoky voice and a relaxed, convincing delivery with no frills to interfere. He included some swingin’ Sinatra hits and a thoughtful rendition of what he called his favorite film, “An Affair to Remember” (Adamson-McCarey), delivering more tenderness than Vic Damone’s flawlessly vocalized version. A poignant “Young and Foolish” (Horwitt-Hague) was on-target, remembering Tony Bennett’s connection for the words.
Like his musical influences, Harris is faithful to the lyrics of the songs, sings them with precise diction, and keeps the integrity of the melodies. Extending “ballad” into folk terms, he accompanied himself on guitar for the title song of his original country project, Cross That River. This theatrical saga traces the black experience in the West, beginning strong with, “Mama said a white man be comin’ in the morning/Gonna drag Big Daddy away.”
Harris is genial and communicates well with his audience, but there is a point where selective audience participation becomes chatty and insular and stops the show. I also wondered why Harris chose these male singers and these tunes? Why state that Nat “King” Cole and Johnny Mathis were two influences and not include them? Instead he chose a late ’50’s rock ‘n’ roll hit by Sam Cooke, “You Send Me.” Fun, yes, but it broke the mood. There is nothing wrong with spontaneity and changing direction in mid-stream. It is, however, unsatisfying if there is no obvious reason or final destination.
Allan Harris was accompanied by musical director/pianist Dan Kaufman, Paul Beaudry on bass, Alvester Garnett on drums, and guitarist Ron Afiff.