Jazz legend Annie Ross continues her run of Tuesday's at the Metropolitan Room
At Gotham
New York's newest and best music room
34 West 22nd St. (between 5th & 6th Ave.)
New York City
Reservations (212)206-0440
Dates and times:
February 13th @ 7:00 PM
Continuing Every Tuesday in March and April
Tardo Hammer - Piano
Neal Miner - Bass
Jimmy Wormworth - Drums
Warren Vach - Trumpet (when in town)
Thursday, February 01, 2007
BY ZAN STEWART
Star-Ledger Staff
What does a legendary jazz songstress do when her voice has lost a good deal of its luster? Well, for one thing, she swings.
That's what Annie Ross did Tuesday at the Metropolitan Room at Gotham in New York. She also whispered emotive ballads, laid out some impressive vocalese, and offered witty introductions to her numbers.
All in all, Ross, a hardy trouper at 75, employed gumption, nerves of steel and deep knowledge of the jazz craft in producing a decidedly entertaining, and often touching, set of songs.
The singer made her mark with the vocal trio Lambert, Hendricks and Ross in the late 1950s-early 1960s; she has also had a career as an actress -- including a plum role in Robert Altman's 1993 classic, “Short Cuts." She understands the value of having top-rate accompanists.
At the Metropolitan, where she appears each Tuesday and where she was recording a new CD for the CAP label, Ross performed with a formidable team: her longtime pianist, the extraordinary Tardo Hammer; fat-toned bassist Neal Miner; drummer Jimmy Wormworth, who was with LH&R; and Rahway cornet monster Warren Vach.
The band worked hand-in-glove with the singer, subtly moving with her vocals, giving her consummate support. The members also soloed with lan, adding a variety of persuasive instrumental colors.
“Too Marvelous for Words" was one of Ross' swingers. She didn't hit many of her notes hard on the head, and often delivered phrases in a speak-sing fashion. But her rhythmic whammy made up for any vocal minuses. The way she popped out the opening line of the bridge -- “You're much too much, and just too very very" -- had a drummer's swagger.
A modestly motoring-along “Watch What Happens" had some powerful rhythmic phrases, as did “Taking a Chance on Love," just one number boasting Vach's fluid, melodically potent lines. And there was a medium-slow journey through “I Got Rhythm," featuring guest violinist Aaron Weinstein, where the title phrase clearly had relevance.
Ross' three vocalese numbers -- where lyrics are fitted to recorded instrumental solos -- were likewise percolating. Of course, she had to offer her signature song, “Twisted," which she recorded in 1952 and which became a jazz hit.
Based on a beguiling tenor saxophone solo by Wardell Gray, Ross wrote such timeless words as “My analyst told me/that I was right out of my head/the way he described it/he said I'd be better dead than live/I didn't listen to his jive ..." She sang this demanding number clearly, and with zest, bringing off its toughest phrases. Each of the musicians also dropped in a solid solo.
One killer ballad was Billy Strayhorn's “Lush Life," done very softly, with just Hammer in accompaniment. Ross delivered this tale of utter dissolution -- which closes with the telling lines, “Now I'll rot with the rest/of those whose lives are lonely, too" -- with grace and emotion. Hammer, his touch soft, his notes warm, found fresh, buoyant chords to lead her.
One other ballad knockout was Vernon Duke's “Autumn in New York," which contains such lyrics as “Glimmering crowds/and shimmering clouds/in canyons of steel." Ross nailed it.
At Gotham
New York's newest and best music room
34 West 22nd St. (between 5th & 6th Ave.)
New York City
Reservations (212)206-0440
Dates and times:
February 13th @ 7:00 PM
Continuing Every Tuesday in March and April
Tardo Hammer - Piano
Neal Miner - Bass
Jimmy Wormworth - Drums
Warren Vach - Trumpet (when in town)
Thursday, February 01, 2007
BY ZAN STEWART
Star-Ledger Staff
What does a legendary jazz songstress do when her voice has lost a good deal of its luster? Well, for one thing, she swings.
That's what Annie Ross did Tuesday at the Metropolitan Room at Gotham in New York. She also whispered emotive ballads, laid out some impressive vocalese, and offered witty introductions to her numbers.
All in all, Ross, a hardy trouper at 75, employed gumption, nerves of steel and deep knowledge of the jazz craft in producing a decidedly entertaining, and often touching, set of songs.
The singer made her mark with the vocal trio Lambert, Hendricks and Ross in the late 1950s-early 1960s; she has also had a career as an actress -- including a plum role in Robert Altman's 1993 classic, “Short Cuts." She understands the value of having top-rate accompanists.
At the Metropolitan, where she appears each Tuesday and where she was recording a new CD for the CAP label, Ross performed with a formidable team: her longtime pianist, the extraordinary Tardo Hammer; fat-toned bassist Neal Miner; drummer Jimmy Wormworth, who was with LH&R; and Rahway cornet monster Warren Vach.
The band worked hand-in-glove with the singer, subtly moving with her vocals, giving her consummate support. The members also soloed with lan, adding a variety of persuasive instrumental colors.
“Too Marvelous for Words" was one of Ross' swingers. She didn't hit many of her notes hard on the head, and often delivered phrases in a speak-sing fashion. But her rhythmic whammy made up for any vocal minuses. The way she popped out the opening line of the bridge -- “You're much too much, and just too very very" -- had a drummer's swagger.
A modestly motoring-along “Watch What Happens" had some powerful rhythmic phrases, as did “Taking a Chance on Love," just one number boasting Vach's fluid, melodically potent lines. And there was a medium-slow journey through “I Got Rhythm," featuring guest violinist Aaron Weinstein, where the title phrase clearly had relevance.
Ross' three vocalese numbers -- where lyrics are fitted to recorded instrumental solos -- were likewise percolating. Of course, she had to offer her signature song, “Twisted," which she recorded in 1952 and which became a jazz hit.
Based on a beguiling tenor saxophone solo by Wardell Gray, Ross wrote such timeless words as “My analyst told me/that I was right out of my head/the way he described it/he said I'd be better dead than live/I didn't listen to his jive ..." She sang this demanding number clearly, and with zest, bringing off its toughest phrases. Each of the musicians also dropped in a solid solo.
One killer ballad was Billy Strayhorn's “Lush Life," done very softly, with just Hammer in accompaniment. Ross delivered this tale of utter dissolution -- which closes with the telling lines, “Now I'll rot with the rest/of those whose lives are lonely, too" -- with grace and emotion. Hammer, his touch soft, his notes warm, found fresh, buoyant chords to lead her.
One other ballad knockout was Vernon Duke's “Autumn in New York," which contains such lyrics as “Glimmering crowds/and shimmering clouds/in canyons of steel." Ross nailed it.
For more information contact Jim Eigo, Jazz Promo Services.
