Johnny O'Neal: Everybody Loves Johnny O'Neal

In the pantheon of jazz pianists and entertainers, Johnny O'Neal occupies a special niche—equal parts master technician, soulful interpreter, and irrepressible entertainer. Everybody Loves Johnny O'Neal, recorded live at Pyatt Hall, Vancouver, BC, captures the pianist and vocalist at his most relaxed and radiant. The date finds O'Neal in the company of two exceptional rhythm players -bassist Luke Sellick and drummer Itay Morchi, who anticipate his every move, no matter how sudden the detour.

The set opens with "Chicago," a joyful gallop through this Fred Fisher chestnut. O'Neal wastes no time establishing his command of swing with his propulsive, effortless rhythmic precision. The playing has a theatrical flair, which is ably supported by Sellick's bass lines and Morchi's flashy stick work. The first of the O'Neal vocals is "Love Letters," a ballad that is given a tender interpretation. Although O'Neal's vocal stylings are an acquired taste, his romanticism is not syrupy, but sincere and laced with wistful knowingness.

The combination of the Duke Ellington spiritual " Come Sunday" and the lesser-known "Did I Ever Really Live" makes for an interesting juxtaposition. On the former, O'Neal performs the number steeped in the blues, restrained yet emotionally resonant. On the latter, O'Neal's vocal is intimate yet fragile, with sympathetic support from the rhythm section. The rendition is honest, exposed and deeply human. The energy level is returned with "Destination Moon," a sly mid-tempo swinger. O'Neal's vocal is playful, and when he falls into scat mode, he spins long vocalese lines. Sellick and Morchi drive the tune forward without overwhelming the space. The arrangement, has an airy quality, a testament to the trio's collective touch.

The Rodgers and Hart ballad "Where or When" opens with a strong solo from Sellick and then is taken up a notch with O'Neal's up-tempo vocal followed by some stellar scat figures. As he shifts into the piano solo, he pushes the envelope with a barrage of right-hand flurries, locking into tight motifs that build intensity. Sellick and Morchi keep the momentum urgent. The concert closes affectionately with the timeless favourite "The More I See You."O'Neal's vocal swings with grace and charisma, and his scatting is relaxed and inviting. The trio falls into a tight, easy groove, navigating the shifting dynamics and rhythmic turns with complete assurance. This album is not just a live date—it is a document of three musicians perfectly attuned to one another in time and space.

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