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Pamela Luss
November 4, 2009
“Sweet and Saxy”
Jazz Standard – October 28
It is a smart move all around when a singer has the expertise and taste to find the best to accompany her. In “Sweet and Saxy,” her one-night only performance at the Jazz Standard, Pamela Luss joined a quintet of greats for a swinging partnership. With Luss taking the vocals, the show featured Houston Person on tenor sax, guitarist James Chirillo, Ray Drummond on bass, Alvin Atkinson on drums, and musical director/pianist John di Martino. All was “Sweet and Saxy” at the Jazz Standard.
Luss’s strength lies in delivering a sense of herself within a polished, somewhat reserved singing style. Without going for the aggressive flourishes of many jazz singers, she sings the song, tells the story, and explores new melodic avenues along the way. With her satin-textured voice, she stretches out a phrase or snaps a word for effective emphasis, and then steps back to let one of her musicians give his take on the tale. All together, the song comes shining through with a Pamela Luss point of view, minimalist and honest. There is no showboating here. This is not a rangy, lush Sarah Vaughan voice; Luss’s disarming interpretation and finesse add to the soul and energy of her sterling partners.
At the start of the show her patter was tentative. Her first song, “Don’cha Go ‘Way Mad,” a catchy tune by Jimmy Mundy, Illinois Jacquet, and Al Stillman, had some diffident notes, but as the show went on, Luss relaxed with her savory material and enjoyed the interaction with the wit and musicianship of her partners.
Her assured sense of swing was showcased nice and easy in tunes like “Witchcraft,” a Halloween touch by Carolyn Leigh and Cy Coleman, which was followed by Jack Keller and Howie Greenberg’s theme from the TV series Bewitched. Another interesting choice was “Canadian Sunset” (Eddie Heywood, Norman Gimbel), not often heard with vocals. Frank Loesser’s “I’ve Never Been in Love Before” was an appealing easy-listening swing.
Frank Loesser and Jimmy McHugh’s “Can’t Get Out of This Mood” took its time with a Latin sway, anchored by Alvin Atkinson’s drums, that you could not get out of your head. Another south-of-the border beat went to Abbey Lincoln’s “The Music Is the Magic.” For me, Luss shines in murmuring ballads like “You Better Go Now,” by Bickley Reichner and Irvin Graham, a highlight with long teasing lines, and her sizzling look at “Baby, Don’t You Quit Now” (Johnny Mercer, Jimmy Rowles). The ballads were a “saxy” opportuniy for the thick sound of Person’s tenor sax. At one point, Luss commented that Person was singing the lyrics in his instrument, something trumpet player Clifford Brown used to do. “Ain’t No Sunshine” (Bill Withers) had Person’s blues obbligato creating a deep purple mood to di Martino’s arrangement. “Why Was I Born?” (Oscar Hammerstein II, Jerome Kern) swung out after Luss’s introspective start with just Ray Drummond accompanying on bass.
Luss, who has performed at major jazz clubs around town, continues to mature with musical skill and articulate exploration of her songs. With this group of splendid players, she delivered an engaging performance with no phony edges.
