Eric Comstock & Barbara Fasano: Come a Little Closer

Marilyn Lester | November 29, 2016

Eric Comstock and Barbara Fasano

Come a Little Closer

Birdland, NYC, November 27, 2016

Reviewed by Marilyn Lester for Cabaret Scenes

Barbara Fasano & Eric Comstock

The ever-captivating husband/wife team of Eric Comstock and Barbara Fasano packed a mighty punch of swell entertainment into a short space of time on the storied Birdland stage—and all with a large dose of humor, finesse, sophistication and musical mastery. The duo launched into three numbers before pausing for breath: an appropriately easy-tempoed jazz standard, “Easy Come, Easy Go” (Johnny Green and Edward Heyman), a bouncy “Once in a Lifetime” (Leslie Bricusse and Anthony Newley), and “Sondheim therapy” as Fasano categorized it, “Love Is in the Air.” Beyond witty and warm words of welcome, it was back to music, music, music, with an eclectic and smartly-paced set list.

The couple’s musical and personal chemistry were very apparent on “Remind Me,” with Fasano’s excellent phrasing especially on target, and a shout-out to female lyricist, Dorothy Fields (music by Jerome Kern). Another distaff lyricist was feted with “Witchcraft” (Cy Coleman and Carolyn Leigh), ingeniously combined with “(How Little It Matters) How Little We Know” (Leigh with Philip Springer). Comstock soloed on “Now I Have Everything” (Jerry Bock and Sheldon Harnick), spotlighting accomplished piano artistry with a pleasant enough voice—a combination of ingredients which meld to yield sensitive interpretive skills. Creative arrangements of “Blue Skies” (Irving Berlin) and a slow, nostalgic and beautifully harmonized “April Come She Will” (Paul Simon) reminiscent of the sound of Peter, Paul and Mary, were particular high points.

A world premiere happened in the lovely, lyric-driven “I Used to Like to Draw” (Renee Rosnes and David Hajdu) with both creators in the audience. Another original composition, by talented bass player Sean Smith, “Japanese Folk Song,” revealed a delicate number evocative of a Japanese tea ceremony. This instrumental featured Comstock’s piano with intricate bass work by the composer. Smith also demonstrated his skill in a solo on the droll Oscar Brown, Jr.’s “Hazel’s Hips” sung with mischievous flair by Comstock. A lesser known Billy Strayhorn composition, “Bittersweet,” written for Duke Ellington’s star alto sax player, Johnny Hodges, with lyrics later added by Roger Schore (in the audience) beautifully paid homage to Strayhorn’s genius. Ending an evening of varied, delightful music was a bouncy, up-tempo rendition of “Broadway” (Bill Byrd, Teddy McRae and Henri Woode) whose lyric “Everybody’s happy and gay” summed up everything.

Tags: American Songbook, Anthony Newley, April Come She Will, Barbara Fasano, Bill Byrd, Billy Strayhorn, Birdland, Bittersweet, Blue Skies, Broadway, Broadway Musicals, Cabaret, Cabaret Reviews, Cabaret Scenes, Carolyn Leigh, CD, Clubs, Come a Little Closer, Composers, Cy Coleman, David Hajdu, Dorothy Fields, Duke Ellington, Easy Come Easy Go, Edward Heyman, Eric Comstock, Great American Songbook, Hazel’s Hips, Henri Woode, How Little It Matters How Little We Know, I Used to Like to Draw, Irving Berlin, Japanese Folk Song, Jazz, Jazz Singers, Jazz Vocalists, Jerome Kern, Jerry Bock, Johnny Green, Johnny Hodges, Leslie Bricusse, Love Is in the Air, lyricists, Marilyn Lester, Musicals, Musicians, Nightclubs, Now I Have Everything, Once in a Lifetime, Oscar Brown Jr., Paul Simon, Philip Springer, Popular Song, Remind Me, Renee Rosnes, Revues, Roger Schore, Sean Smith, Sheldon Harnick, Show Tunes, Singers, Sondheim, Songbook, Standards, Supper Clubs, Teddy McRae, Venues, Vocalists, Witchcraft