I'd never heard of Howard Fishman when I went to see the Howard Fishman Quartet at the Oak Room at the Algonquin. His name puts one in mind of an accountant-and with the exception of one haircut, the four gentlemen look like accountants. But they sure don't sound like accountants; they are one of the freshest, most charming, and most enjoyable musical groups in years. They perform songs dating from the turn of the century through to the '20s, '30s, and beyond-works as varied as "When I Grow Too Old to Dream," "On the Sunny Side of the Street," "St. James Infirmary," "Soon," "Limehouse Blues," and "Carolina Sunshine Girl," plus a few very fine original compositions, ranging from a gypsy waltz to a mournful blues. Stylistically, they embrace such diverse musical schools as swing, blue grass, pop, country, and New Orleans jazz-among others-sometimes all in a single selection! Rather than sounding like a hodgepodge, it's an irresistible synthesis. So, a blue-grass/swing arrangement of "Lady Be Good," featuring dueling violin and cornet, doesn't merely work-it's wonderful.
These marvelous musicians are Russell Farhang on violin, Peter Ecklund on cornet, Jason Sypher on bass (I love the way he slaps and plucks at the same time), and Howard Fishman on guitar and banjo. Fishman also supplies the vocals, which are all the more affecting for their heartfelt simplicity. The four men are disarmingly un-showbizzy, and they share a manifest love of music that is infectious. The time flew by. Their run ends Sat., April 24; remaining performances are Thurs., 9 pm; Fri.-Sat., 9 and 11:30 pm.
After 10 years in New York and having witnessed countless cabaret acts as an ever-cheerful waiter at Don't Tell Mama, baritone Gregg Rodeheffer is making his solo cabaret debut in a show directed by Lennie Watts and musical-directed by D. Jay Bradley. Well, it might have taken him this long to get it together, but the results were worth waiting for. The evening centers around his growing from a little boy putting on extravagant musicals with Barbie dolls in his bedroom into a young man who accepts and likes the person he has become. If you've been reading my columns, you've seen me caution against doing an autobiographical show; however, when it is as funny and well crafted as this one is, and when it is performed by someone as open and likable as Rodeheffer is, go for it.
Not only is the show great fun, Rodeheffer has moments of impressive artistry. He doesn't just sing Rick Jensen's "Spring Harvest" very well, he projects sunny optimism while doing it; and he nicely realizes the poignancy of Brian Lasser's "Getting So Old in New York City." A Meat Loaf medley is terrific, but the highlight might be the improbable but inspired pairing of the sassy "One Monkey Don't Stop No Show" with Brian Lasser's emotionally naked "Hold Me": the transition is masterful, and the return at the end makes a strong dramatic statement. A couple of notes: "Blame It on the Summer Night" is not as sensual and flowing as it should be, and when Rodeheffer pushes his voice, it sometimes escapes his control. Swell back-up vocals (and more) from Simone Gordon and Shahara Ray. Remaining performances at Mama's are Sundays, April 25 and May 9, 9:30 pm.
At The Duplex, Anthony Gaglione has returned with his show "Like an Angel," directed by Gerry Geddes, with musical direction by Gerry Dieffenbach. Gaglione is an excellent pop singer. By that I mean that he doesn't illuminate his interpretations with the insights and revelations that a more actorly approach might discover; however, his voice is so good and his technique is so solid, that his singing alone can have considerable impact. He imbues Helen Berrios' "Sing Hallelujah" with positive energy, he delivers a bright rendition of Mary Chapin Carpenter's catchy "Let Me Into Your Heart," and his performance of "Perfect Love" by Stephony Smith and Sunny Russ is joyous.
Nearly two-thirds of Gaglione's program consists of original material, written either alone or with James Perikas, and this presents a problem. While "Waiting" is an effective song about a girl in love with a married man, most of his songs are heartfelt but overly earnest romantic ballads; a sameness develops. More originality (avoid obvious phrases like "Like an angel from heaven, you were sent to me") and craftsmanship (be careful with non-rhymes: flash/past, can/plans, change/pain, believe/free) are wanted. Next performances: Sundays, May 16 and 23, 7 pm.
Loli Marquez-Sterling's show "Those Dog Years" recently ran at Don't Tell Mama, directed by Linda Amiel Burns and musical-directed by James Mclaughlin. It was based on her being a dog-owner and on growing up in the first Cuban family in Plymouth, N.H. While most of the evening showed off her great flair for comedy, the best moments came when the show turned serious: She delivered an impassioned "Mi Manera" ("My Way"), followed by a pairing of "Where I Want to Be" and "Mi Tierra," which formed a dramatically strong anthem to a free Cuba. Constructive feedback: Two video segments (one of her dog, one of simians) distracted from her singing; her interpretation of "Miss You Much" came very close-another examination of the song should do it; and as good as it was, "Sugar Pit" could be more abandoned. A return engagement is planned.
From Seattle, lyric baritone Jonathan Frank made his New York cabaret debut at The Duplex recently, accompanied by John Wallowitch. Based on his fine CD "Sleeping in the Arms of Love," this was a very good show, indeed. Among the highlights were Dale Gonyea's "John and Fred," given a performance as dear as the song; a pairing of "No Moon" and "Sailing On" that reversed the orientation of fantasy in the second song to make an equally valid dramatic statement; Francesca Blumenthal's wry yet sweet "Cappuccino"; a warm, affecting rendition of Charles Aznavour's "Quiet Love"; and the quintessentially 1940s "Sentimental Interlude." Two reservations: His voice wasn't as lush and resonant as would be ideal for "If I Loved You," and "Let's Eat Home" could have been rhythmically freer.
Around town: Heartbeat It's a Lovebeat is back at The Triad, Tuesdays, 8 pm, April 27, May 11, and 25.... Carol Fredette sings at Cleopatra's Needle, Sat., April 24, 9 pm-1 am.... Steve Jobson sings Cole Porter at The Duplex, Sun., April 25, 5 pm, and Wed., April 28, 7 pm.... Elaine St. George does her new show at Judy's, Thurs., April 29, and Sat., May 1, 9 pm.... Lea DeLaria sings and cuts up at Joe's Pub, Mondays, 8:30 pm, through May 3.... Billy Stritch is at The Jazz Standard, through April 25, two shows nightly.
At the FireBird Caf : Daryl Sherman celebrates Duke Ellington through April 24, nightly, 9 and 11 pm; Paula West returns April 27-May 15.... At Don't Tell Mama: Steven Brinberg's "Simply Barbra: The Wedding Tour," Saturdays, 11 pm, April 24-June 6 (except May 15); Mary Foster Conklin, Mondays and Tuesdays, May 3-11, 9 pm; Thomas DiVerniero's new show, Fridays, April 23-30, 7 pm, and Sat., May 1, 6 pm; Lynn Lobban's tribute to Frank Sinatra and John Wallowitch, Wednesdays, April 28, May 5 and 19, and Fri., May 28, 7 pm.... At Eighty Eight's: Yvonne Constant, Sun., April 25, 8 pm; Australia's Maree Johnson, Wed., April 28, 8 pm; Barbara Brussell's new offering, Fridays, April 23 and 30, 8:30 pm-then May 6-28: Thursdays, 10:30 pm, Fridays, 8:30 pm.
John Malino and his Swing Society Jazz Band are back at Sardi's, Fridays 10:30 pm-1 am.... Lynne Charnay returns to Danny's Skylight Room, Sun., May 2, and Mondays, May 20-17, 9:15 pm.... Christine Andreas sings at the Oak Room at the Algonquin, April 27-May 15.... While no longer joined at the hip, Alice Ripley and Emily Skinner perform together at the China Club, Sun., May 2, 9 pm.... Cynthia Crane sings at the Greenwich Caf (75 Greenwich Ave.), Wednesdays, 9-11 pm. q