Cabaret nowadays encompasses every kind of music: show tunes, country, pop, jazz, Latin jazz, blues, et al. You can mix and match, or you can do a theme show: one devoted to a single composer, period, or dramatic or comic throughline. If you fully know where your talents lie, you will gravitate toward the songs that are best suited to your singing and performance style. Such was the case in some diverse acts I caught around town recently.
In the case of Judy Kreston and David Lahm, who have been performing together for over 23 years, their secret of longevity and success has been their impeccable taste in song selection and flawless arrangements, whether pursuing a theme, like in their recent Rodgers show, or presenting a potpourri, as in their current outing, "A Brand New Us," directed by Richard Hendrickson and performing on Saturdays through Dec. 14 at Judy's Chelsea. Having recently calculated that they have collaborated on over 800 songs in their professional partnership, they decided that "a brand new us" is really "the same old us." Consequently, they decided to put a show together of songs they just like. And what an excellent choice of material it is. From the great Harburg/Schwartz "Then I'll Be Tired of You," to a Dorothy Fields/Quincy Jones rarity, "Where There Is Love There Is Hope," to Sting's "Message in a Bottle," the material wrapped the room in musical magic for one hour. No matter what the selection, Kreston sang material that complemented her vocal range. As always, Lahm's arrangements were flawless and supported Kreston's vocals at every turn. This man borders on genius when it comes to the craft of arranging for his trio and his star.
Speaking of craftsmanship and expertise at choosing material, Kathleen Landis has brought a unique elegance and style to the cabaret scene in Manhattan for years. Ensconced in the chic Café Pierre, and performing songs from the Hollywood films of the 1930s and '40s, her exceptional talents as a pianist and vocalist—plus her style, glamour, and creative showmanship—have contributed immensely to the Manhattan landscape after dark. The collaboration between Landis and the music of Hollywood in the '30s and '40s results in some of the most beautiful music it has been my pleasure to hear, now or at any other time in any venue. Employing a range of music from Chopin to Cy Coleman, including delicious doses of Gershwin, Porter, Berlin, and jazz-influenced Arlen along the way, the hotel is never as alive as when Landis is at the keyboard recalling another era. Each of the selections is suffused with a classic lyric charm, poignancy, and sophistication, all underpinned with an unabashed romanticism that can take your breath away.
Landis' versatility charms the room. All tunes are delivered in a smooth, jazz-tinged style with classical underpinnings—no walk-through standard treatment here. Her arrangements, intricate and imaginative, are replete with complicated chord progressions. Classically trained, don't be surprised to hear a little Bach in her Bernstein as Landis creates an aura of nostalgia that makes you feel as if you've stepped back into the elegant Café Society with authentic period evening wear and accessories. When she plays, those classically trained hands bring to life some of the finest music of the period. Catch her at Café Pierre, Tuesdays through Saturdays starting at 8:30 pm.
Another master craftsman, Eddie Palmieri has been unfailingly committed to the development and recognition of Afro-Cuban music throughout his 40-year career, and remains one of the central figures of Latin jazz worldwide. In his recent gig last weekend at the Blue Note, he again proved what the hype is about. A consummate keyboard artist, he is hailed as the most consistently innovative artist in Afro-Cuban music in the United States. Born in New York City's Spanish Harlem in 1936, Palmieri trained in classical piano, and began his professional career as a musician at age 13 playing timbales in his uncle's band. He credits Tito Rodriguez, Tito Puente, and other stars of Manhattan's Palladium—"the home of the Mambo"—as the sources of inspiration for his music.
In 1961, Palmieri formed the Conjunto La Perfecta, a two-trombone, flute, piano, bass, and Latin percussion band, introducing the fearless impetus of trombones to the fervor of the traditional Afro-Caribbean-New York rhythm section. The band became hugely popular amidst the trumpet-dominated Latin dance ensembles of the era. After La Perfecta disbanded in 1968, Palmieri went on to experiment with many types of formats, collaborating with vibist Cal Tjader, dabbling with electric pianos, assimilating the sounds of jazz greats such as McCoy Tyner, and exploring diverse pan-Latin fusions.
With La Perfecta II (also the title of his latest CD on Concord Records), he brought to the Blue Note a modern reincarnation of his early powerhouse Latin jazz ensemble, leading a fiery 10-piece band through soaring Latin rhythms, romantic ballads, and open improvisations. While he may not be a household name to cabaret lovers, his music is infectious and worthy of the cult status he embellishes. It's impossible not to tap your toes when Eddie Palmieri is fronting his dynamic rhythmic salsa band with meteoric precision.
Always in tune is Michael Ferrari, one of our town's most popular singer-pianists. Having made his successful cabaret debut last year at the FireBird and released his first CD on Miranda Music, he has become a fixture in the Upper East Side piano bars. I recently caught him at the elegant Townhouse, where he performs several nights a week. Ferrari is a master at creating the perfect mood, whether it be for a Sondheim medley from "Sweeney Todd" or a rousing sing-along chorus of "Oklahoma!" He can bring the overcrowded room to a whisper when he pensively croons a ballad like the Johnny Mandel/Alan and Marilyn Bergman standard, "Where Do You Start?" Ferrari is a performer in the mold of Michael Feinstein who, with a little luck, could rise to the same heights. He has the talent, the charm, and the good looks that make him a winner in any venue. Let's hope he moves on to more recognition. For now, catch him at the Townhouse.
AROUND TOWN: Bistro and MAC-winner Tom Postilio returns to Westbury Music Fair on Dec. 13 with very special guests Angela LaGreca, Peter Cincotti, and Hilary Kole; his last gig there was sold out... Michael Feinstein is doing his holiday show with Gloria Reuben at Feinstein's at the Regency through Dec. 28... Leslie Anderson "Toots Her Own Horn" at Judy's Chelsea Dec. 8 and 9 at 8:30 pm… Marieann Meringolo and her trio perform Wednesdays from 8:30 till midnight at the Marriott Marquis Lounge (no cover).