I've grown up with the songs of Jimmy Webb. They were a soundtrack to my early childhood, with the music of Glen Campbell, The Fifth Dimension and Richard Harris blaring from AM radios, and making a distinct impression on me. The opportunity to see this famed songwriter perform is a rare treat indeed, since he's apparently never performed in St. Louis before. With a short run at the Cabaret at Savor (April 30^th – May 3^rd, 2008), Webb graced our city with his unpretentious charm and tuneful songbook.

Despite a long recording career that's landed him plenty of critical acclaim, Webb's solo albums have never really sold well. And that's a shame, because the set I attended, showcased a performer with a unique voice, and an inventive touch on piano, who should probably write a book about his experiences in showbiz. His adventures recording an album with Irish actor Richard Harris, could probably fill a volume on their own.

Webb opened the evening with a splendid version of “Highwayman,” a song recorded by Kris Kristofferson,  Johnny Cash, Willie Nelson and Waylon Jennings, for their album of the same name. Pounding the keys of a baby grand with abandon, and lost in the moment from the moment he sat down, Webb immediately warmed up the room with his passion. Throughout the night he would pause between songs and reflect on their conceptions, or the artists who recorded them, or just talk about his life in general. In this case he told how he'd been invited to Farm Aid as Willie's guest, but ended up on stage performing with the group.

Webb followed with tales of Glen Campbell, and perfectly rendered takes of “Galveston,” “By the Time I Get to Phoenix” and “Wichita Lineman.” He ably filled the space left by the original recording's orchestral arrangements with his deft piano playing, adding the sound of a telephone ringing to “...Phoenix”to great effect. These three songs all strike emotional chords in me when I hear them, and this night was no exception.

Webb moved on to speak of Richard Harris and their collaboration in the recording studio, playing “No Sign of Age” from the album that they produced. He then touched on the breakup of Simon and Garfunkel, and how their loss was his gain since Art was recording a solo album and needed material. This segued into the lovely “All I Know.” Webb also talked about his drinking days, before he became sober, and the “Evil Jimmy” that would inhabit him during those times. This led to the amusing “What Do Women See in Men.”

Pausing to reflect on his first visit to St. Louis, Webb mentioned his connection to local artists Marilyn McCoo and Billy Davis before sliding into his anti-marriage ballad “The Worst That Could Happen.” Bouncy Grammy winner “Up, Up, and Away” also made an appearance. And Webb spoke of the special treatment he received from Frank Sinatra, who always managed to give his  songwriters credit, before  performing “Didn't We.”

Webb closed with “MacArthur Park,” a song that's epic in it's structure and arrangement as it shifts gears and time signatures unexpectedly. Though some revile this song about “a cake out in the rain”, on this occasion it's brilliance was readily apparent.

After much applause, Webb quickly returned and actually took a request, performing a nice sing-a-long version of “P.F.Sloan” from his first solo album, “Words and Music.”

This was a truly special evening, and one I'll hold in my memory for a long time to come. The Cabaret at Savor is a venue that lets you see a performer up close and personal.

Chris Gibson
Cabaret Scenes
May 1, 2008
www.cabaretscenes.org