Things are going pretty well for Spencer Day: A week-long, very well-attended gig at the Rrazz Room, constant national and international touring, and all the talent to back it up. Performing his original material with maybe a nod to another composer, Day is lucky to have a hardcore fan base that adores his every move and is growing exponentially.

Relying mainly on songs from his soon-to-be released CD Vagabond and backed by a superb band including longtime collaborator Yair Evnine, Day exudes a bubbly confidence in his work, secure in his voice and composing skills. I've said it before and it's worth repeating—Day is writing a new library of modern standards. When I listen to his sets, I can see other performers waiting in the wings to have their shot at a Day composition. Paula West would be great for Day's jazzy "Weeping Willow" and I see Tim Hockenberry wrapping his voice around "Vagabond." Day's composing style varies with his mood. He can write a theatrical musical piece like "Movie of Your Life," an optimistic social treatise like "Better Way," or witty novelty song about Marie Antoinette ("Poor Marie"). He incorporates Richard Rodgers, Oscar Hammerstein, Cole Porter and many of the great American Songbook writers with a fresh, modern urbane wit. His character development is colorful and exact and makes a song like "Joe" pop with accuracy. Day is smart and his work reflects a budding composer alive with infinite possibility. He's not restricted by superimposed boundaries and the listener finds himself happily following along on the ride.

Opening night saw the sold out room sit in rapt attention as Day unfolded his unique blend of the new and the familiar. You could hear a pin drop during his lovely take on "Something Good" from The Sound of Music. Looking so innocent and cherubic, Day softly sings the song's opening verse:

"For here you are, standing there, loving me
Perhaps I had a wicked childhood,
perhaps I had a miserable youth.
But somewhere in my wicked, miserable past,
there must have been a moment of truth.
For here you are, standing there, loving me.
Whether or not you should.
So somewhere in my youth or childhood
I must have done something good.
Nothing comes from nothing, nothing ever could.
So, somewhere in my youth or childhood,
I must have done something good".

Day calls it a song about karma. Day's audience certainly was loving him. I think Spencer Day's good karma is about to pay off big. He's something very, very good.

Steve Murray
Cabaret Scenes
December 9, 2008
www.cabaretscenes.org