SFRAGMENTS:* Notes on Barbara Sfraga's CD Party/Love-In
I once enjoyed a stunning, anonymous tenor solo wafting through a fog in Washington Square Park at two o'clock in the morning. I've even been lucky enough to make some jazz myself, sharing the incomparable delight of a group that's been stirring the pot and finally begins to cook. But I'd never been to a jazz love-in before.
It wasn't billed that way: officially, it was called a "CD release/performance party" to commemorate Oh, What a Thrill, Barbara Sfraga's first CD for Naxos Jazz, even though it was actually released in November and had already sold nearly 4000 copies by then. [The title is from a lyric in "Great Balls of Fire," the opening track in which Sfraga takes the frenetic Jerry Lee Lewis signature and puts it on a slow, sexy burn.]
Whatever the timing, I've never seen a CD release gig with such copious amounts of hugging and kissing. The coziness was partly due to all the family members who took planes to be there, but the good feeling was larger than kin: many in the audience were also singers, come to support one of their own.
One singer who couldn't make it was Mark Murphy, who contributed a tune, a duet and the liner notes to the CD; teaching in Switzerland, he sent floral greetings from Graz. Those in corporeal attendance included Tom Lellis, Mary Pearson, Kendra Shank, Rosanna Vitro, Andrea Wolper, Mary Foster Conklin, Roz Corral, Leslie Gwin (who also runs jazzsingers.com), Tessa Souter, Diane Hubka, Bonnie Goodman, Catherine Dupuis, Dori Levine, Carla White, Linda Ciofalo, and Iva Ambush (who drove up from D.C.).
There were also musicians (Drew Gress, Mark Josefsberg, Vana Gierig, Sue Williams, Drory Montlach, Mark Lambert, Leslie Pintchik, and Scott Hardy) and writers, including Will Friedwald, author of "Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond," Michael Colby, vocal critic of 52ndstreet.com, David Farneth, author of a recent Kurt Weill biography, and Terry Teachout, whose sage observations about jazz appear regularly in the New York Times.
Fred Hersch, who appears thrice on Barbara's CD and played six tunes at the party, told Teachout that he'd "lost it" reading Terry's comments in Time Magazine about Michael Bolton's album of operatic arias. Noting Bolton's claim that he sings them in the shower, Teachout had asked, "Where is Norman Bates when we really need him?"
The celebration sold out both sets on March 14 at Caviarteria, an increasingly hip jazz-and-smoked-fish venue that's attached to the Soho Grand Hotel, a lower Manhattan habitat decorated in Bladerunner Chic (industrial-grid staircase, subway columns, hubcaps on the walls). While the club offers such upscale eats as a three-caviar "layer cake" and black truffle soup for $45, it's just a half block away from the sidewalk tables on Canal Street, which offer trays of Rolex knock-offs and plastic sunglasses and "a tatoo in any catagory! (sic)" But like so many jazz warrens, the dark and gleaming club was its own worldï"especially when the music began.
And terrific music it was, with Sfraga and her band (Bruce Saunders, guitar, Eric Halverson, drums, and John Hebert, bass) putting their patented spin on such treats as Angel Eyes, Prelude to a Kiss, Invitation, and Freedomï"the Lee Morgan tune sung with Sfraga's lyrics. She dedicated her own "Song for My Mother" to her mother (with her father kidding, "what about me?"); a duet with Fred's incomparably tender accompaniment; it was followed by another sigh-worthy pairing on "Lush Life." Her deep readings of "Insensatez" and "Small Day Tomorrow" gleamed in an evening full of gems, including when Sfraga blended "You Must Believe in Spring" with "It Might As Well be Spring," and then blew the roof off the place with "Doxy."