Cheryl Bentyne Sings the Winners

C. Michael Bailey

Senior Contributor since 1997

...wants to know if Gene Harris is playing "Summertime" in Heaven...

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Published: August 21, 2012

It is not so hard to sing jazz music, at least, if such is measured by the glut, deluge, plethora or superabundance of jazz vocal recordings released each season. Where bandleader and composer Duke Ellington once opined that that there are only two types of music, good and bad, you could say that some of this music is good and some is superior. The vast majority of jazz vocal recordings are good. Very few, necessarily, are superior. So, while it may not be hard to sing jazz, it is darn near impossible to sing it exceptionally.

In jazz singing, there are those vocalists that you can always count on for excellence, and Cheryl Bentyne is one of them. An active member of The Manhattan Transfer since 1979, with several solo projects to her credit, Bentyne has established herself with few if any peers in mainstream jazz singing. Most recently, Bentyne has had a bit of the human journey having been diagnosed and successfully treated for Hodgkin's Lymphoma. The treatment for such is unforgiving, even two generations away from the advent of chemotherapy (for which Hodgkin's Disease was the first to be successfully treated with combination chemotherapy). Her continued presence shouldn't be taken for granted.

Bentyne graceously made her experiences available via her personal blog and FaceBook, deftly using electronic media to make the world necessarily that much smaller with her personal courage and impeccable style. All the better to get closer to this titanic talent. Bentyne reveals herself as a woman, mom, patient, singer, almost "one of us." But we know better. Bentyne is something quite special and necessary. Here are three recent releases by Bentyne that illustrate what great jazz singing is. We are fortunate to live in Cheryl Bentyne's world.

Cheryl Bentyne
New York Sessions
La de dah Records
2009

Released abroad in 2004 for Japan's King Records under the title, Cheryl Bentyne Sings Waltz For Debby, New York Sessions took a long six years to become available in the United States. That is crazy, but allowing for the greater popularity of jazz abroad as compared to stateside, it is not surprising. Chronologically, New York Sessions falls between the US releases of Lights Still Burn (King, 2004) and Let Me Off Uptown (Telarc, 2005). It is characterized by its intimate setting and the musicians supporting Bentyne, pianist Kenny Barron and bassist Ray Drummond, who make a complete performance package.

This recording is not as carefully focused as her Anita O'Day album, Let Me Off Uptown (Telarc, 2005), or Gershwin, The Gershwin Songbook (ArtistShare, 2010) discs were, but she makes up for that with her musical company and intimacy of delivery. Barron is a marvel and a gift as is Drummond and the trio put together a bit of dark and stark magic on a dozen jazz standards worn smooth with age and interpretation. This is a format that Bentyne deserves, and while she has always had top-notch accompaniment, Barron and Drummond are incomparable. The total pack justifies well these fine interpretations.

Close and dusky, New York Sessions is a competent collection from the Great American Songbook. Bentyne caresses the ballads, "But Beautiful," "Easy Living" and "Waltz for Debbie," treating them gently while infusing them with a sophisticated and sensual grace. When she goes upbeat, as she does on a swinging "Stompin' at the Savoy," Bentyne shows her well-balanced command of her material. Pianist Barron provides the gravy for this feast, coaxing Bentyne here and there, but more often than not, providing her a perfect architecture within which to sing. New York Sessions is interesting in its crepuscular hue, which is deep and rich as dark chocolate.

Cheryl Bentyne
The Gershwin Songbook
ArtistShare
2010

George and Ira Gershwin were the grand old men of the American stage. their compositions make up a large part to the Great American Songbook. The Gershwins' book makes for a great focused project of a singer and Cheryl Bentyne takes full advantage of its existence. Bentyne's instrument readily transforms these songs of the Gershwins into something quite special. Part of this transformation must be largely credited to pianist/arranger Corey Allen for his inventive arrangements (arranger Ted Howe does the honors on "But Not For Me," "Isn't It a Pity," "Fascinatin' Rhythm/I've Got Rhythm," and "S'wonderful," as well as playing piano). They provide Bentyne both the harmonic and rhythmic challenge to push her to exceptional performances.

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