Club Review: Janis Siegel with Yaron Gershovsky—”The Colors of My Life”

September 23, 2024

For his contributions to Broadway and the Great American Songbook, composer Cy Coleman deserves every accolade and tribute that has been or could be bestowed upon him. One of the latest, and one of the best, was presented by acclaimed (and Bistro Award-winning) jazz vocalist Janis Siegel at the legendary Blue Note. With repertoire taken from her new album of the same title on Club 44 Records, Siegel presented a lively, smartly programmed, and delightfully sung overview of Coleman’s long and varied career focusing more often than not on his infectious mid- and up-tempo numbers. Backed by the beautifully measured accompaniment of arranger/pianist Yaron Gershovsky (along with Boris Kozlov on bass and Vince Cherico on drums), Siegel has rarely sounded fresher and brighter, thoughtful on lyrics and storytelling, exciting and dynamic rhythmically.  

Any tribute to Cy Coleman is, by necessity, a tribute to the artistry of lyricist Carolyn Leigh and this was no exception. Beginning with “I’ve Got Your Number” (Coleman, Leigh, from Little Me), it began unexpectedly as a slow, sultry swing but built to an incendiary finish. The first surprise of the set came next in the form of “That’s My Style,” a rarely done collaboration with Peggy Lee, which allowed Gershovsky to stretch out and dazzle, leading to some infectious scatting by Siegel. “Witchcraft” (Coleman, Leigh) began with the opening verses delivered slowly and seductively; when the build to a pulsing swing came, the audience was all but begging for the release it offered. A brilliantly arranged, hauntingly played instrumental underscore afforded the perfect cushion for Siegel’s most romantic and dramatic delivery of the evening on “With Every Breath I Take” (Coleman, David Zippel, from City of Angels). 

The singer had a few other surprises in store like a wordless duet with special guest Aubrey Johnson on “Playboy Theme” which Coleman composed (in a Neal Hefti mood) for Hugh Hefner’s  1960s TV show, Playboy After Dark. The intricate interplay of their voices and their effortless musicality raised this piece far beyond a curiosity, and they delivered a genuine musical highlight as well as a fun reminder of the ingenious harmonies of Manhattan Transfer. Siegel made a meal out of Leigh’s witty, masterful lyrics for “When in Rome.”  Done as a duet for piano and voice, the standard “Why Try to Change Me Now” (Coleman, Joseph Allan McCarthy) was a thing of beauty; I don’t think I have ever heard it done better.  

Carolyn Leigh’s wizardry with words in “You Fascinate Me So” could not have a better champion than Siegel at her best, bouncing over the song’s irresistible rhythms. Late in his career, Coleman collaborated with Marilyn and Alan Bergman for a project at the Kennedy Center, in which Siegel was involved. She did not sing “Being Without You” that night, but when she heard it she silently claimed it as her own.  If one were seeking proof of ownership, one needed only to listen to her touching, heartbreaking performance of this standard in waiting. For this reviewer, it was the treasure of the show. The singer’s strengths (and a good deal of her history) were on display in “I’m Gonna Laugh You Right Out of My Life” (Coleman, McCarthy), followed by a crowd-pleasing rendition of the warhorse, “The Best is Yet to Come” (Coleman, Leigh) as bright and inviting as the first time it was sung.  

One last Coleman/ Leigh masterpiece, “I Walk a Little Faster” (with just piano and voice), brought the show to a gorgeous and satisfying close. At this point, with Manhattan Transfer behind her, and a solo career that is flying higher than ever, she has reached the rarified level at which any and every appearance in New York demands to be seen. With singers of this caliber (like Tony Bennett, Rosemary Clooney, and Sarah Vaughan, and a host of other greats) any missed opportunity is a loss to be regretted in years to come. To put it another way, when Janis Seigel returns to NYC, do not miss her.

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Presented at The Blue Note, 131 W. 3rd St., NYC, September 15, 2024.

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About the Author

Gerry Geddes has conceived and directed a number of musical revues—including the Bistro- and MAC Award-winning "Monday in the Dark with George" and "Put On Your Saturday Suit-Words & Music by Jimmy Webb"—and directed many cabaret artists, including André De Shields, Helen Baldassare, Darius de Haas, and drag artist Julia Van Cartier. He directs "The David Drumgold Variety Show," currently in residence at Manhattan Movement & Arts Center, and has produced a number of recordings, including two Bistro-winning CDs. He’s taught vocal performance at The New School, NYU, and London’s Goldsmith’s College and continues to conduct private workshops and master classes. As a writer and critic, he has covered New York’s performing arts scene for over 40 years in both local and national publications; his lyrics have been sung by several cabaret and recording artists. Gerry is an artist in residence at Pangea, and a regular contributor to the podcast “Troubadours & Raconteurs.” He just completed a memoir of his life in NYC called “Didn’t I Ever Tell You This?”