Jazz in July: Duke Ellington—Drop Me Off in Harlem
Jazz in July
Duke Ellington: Drop Me Off in Harlem
92Y Jazz in July
92nd Street Y, NYC, July 22, 2015
Reviewed by Annamaria Alfieri for Cabaret Scenes
The magic name Ellington carried its perfume of elegance and sophistication to 92Y, and each participant brought his or her own special gifts to the party. No event focused on the Duke would leave out Billy Strayhorn, who was also generously represented.
Foremost among the gifted was vocalist Ernie Andrews (pictured), with his wit, sense of fun, the driving energy in his voice and, most of all, his incredible ability to leave behind everything you thought you knew about an Ellington tune and make it brilliantly jazzy and entertaining in a whole new way. “Satin Doll,” “I Got it Bad (And That Ain’t Good),” and “Don’t Get Around Much Anymore” all got this marvelous deconstructive and reconstructive treatment.
Andrews’s co-conspirator, Houston Person on tenor sax, made his own magic, doing the impossible: he added elegance to Ellington. His phrasing, as lovely as that of the best singers, blended like a voice duet with everything the inventive Anderson threw at him. Jeremy Pelt offered his trumpet, cool and mellow or hot and resounding, whichever the moment demanded.
Pianist Renee Rosnes brought her own brand of intellectual jazz lyricism to the proceedings. Her arrangement of Strayhorn’s “Chelsea Bridge” (with Peter Washington on bass and Kenny Washington on drums) read like a tone poem that traced a day in the life—beginning with hesitant glimmers of coming awake, moving to a few contemplative moments before taking on waves of increasing speed and energy, going in and out of places, sunny or dark, until it began to slow and mellow at twilight and reached home with an evening’s satisfied sigh. Gorgeous. Her arrangement of “Fleurette Africaine” added Steve Nelson’s vibes to the mix, giving him a chance to show at his subtle, collaborative best.
Bill Charlap brought his joy, his enthusiasm for the music, and his gifted piano to duets with Renee and to full-cast blow-outs, but never more beautifully complex and lovely than in his duet with Person of “In My Solitude.”
The Washington men iced the cake, contributing great solo bass and drum riffs, but also keeping the strong beat and interesting bass line that allowed everyone else to let loose.
All around, yummy food for the soul.
Category: Cabaret Reviews, New York City, New York City Cabaret Reviews
