Cabaret Scenes Review - Anthony Cochran

Anthony Cochran wasn't kidding when he advised his Metropolitan Room audience, “I don't normally do standards.” Only one of his numbers could be found in the Great American songbook, although Cochran gave it – the Gershwins' “Someone to Watch Over Me” – a beautiful rendition, full of yearning. He explained its inclusion simply: “It's the way I feel right now.” The rest of his song list were by more contemporary composers, among them, the Bee Gees, the Blues Brothers, and Guns N' Roses.

Cochran's take on the newer songs left little to be desired. He has a gregarious stage presence, a pleasing voice with a wide vocal range and he wanders into higher registers with ease. Although he claimed that he “loves dark, depressing songs” and he included a few, including a smooth “Love is Heavy” by Juliana Nash and “Little Sparrow” by Dolly Parton, his “Hey, Bartender” was a romp. The Alan Block/Don Hecht hit, “Walkin' After Midnight,” got a sensuous reading, and Cochran even managed a few times to get this reviewer's foot tapping – along with much of the rest of the room.

The selections weren't the usual cabaret fare, but in Cochran's hands, they worked. Otis Redding's “Rock Me Baby,” for example, with lyrics that could have been suggestive, except that as Cochran delivered them, they weren't: they were explicit. Leonard Cohen's “Hallelujah,” was equally offbeat, with

She tied you
To a kitchen chair
She broke your throne, and she cut your hair

Much of the credit for the undeniable success of Cochran's performance goes to the delightful synergy between him and the Daryl Kojak group accompanying him. I've seldom heard six musicians support their vocalist as effectively. Kojak is, of course, a superb jazz artist, and the persistent though subdued underlying beat of his arrangements never overshadowed Cochran's singing. Ritt Henn on the Danelectro bass was almost a show unto himself. In the solo breaks, he went to town, musically and with an animation that was entrancing. Percussionist Rex Benincasa did wonders slapping his cajon sound box. All the musicians had opportunities to shine individually; Kojak on the piano, Dan Weiss on guitar, Antoine Silverman on violin, Henn and Benincasa, and backup singer Margaret Dorn were splendid as an ensemble and individually.

The excellence of Cochran's show indicated something important, if there were doubters out there. That in today's cabaret venues, change is happening. While satisfying melodies with intelligently interpreted and intelligible lyrics remain the key, the appeal of contemporary performers and the excitement of their shows no longer need to be judged primarily in terms of how many Johnny Mercer, Cole Porter or Larry Hart songs are on the song list. Those of us who love cabaret and the magnificent accomplishments of the great songwriters may greet the change with mixed feelings, but Cochran's show inspires optimism. J-P Perreaux was technical director.

Peter Leavy
Cabaret Scenes
October 22, 2008
www.cabaretscenes.org



	Anthony Cochran Metrpolitan Room New York, NY
Anthony Cochran wasn't kidding when he advised his Metropolitan Room audience, “I don't normally do standards.” Only one of his numbers could be found in the Great American songbook, although Cochran gave it – the Gershwins' “Someone to Watch Over Me” – a beautiful rendition, full of yearning. He explained its inclusion simply: “It's the way I feel right now.” The rest of his song list were by more contemporary composers, among them, the Bee Gees, the Blues Brothers, and Guns N' Roses. Cochran's take on the newer songs left little to be desired. He has a gregarious stage presence, a pleasing voice with a wide vocal range and he wanders into higher registers with ease. Although he claimed that he “loves dark, depressing songs” and he included a few, including a smooth “Love is Heavy” by Juliana Nash and “Little Sparrow” by Dolly Parton, his “Hey, Bartender” was a romp. The Alan Block/Don Hecht hit, “Walkin' After Midnight,” got a sensuous reading, and Cochran even managed a few times to get this reviewer's foot tapping – along with much of the rest of the room. The selections weren't the usual cabaret fare, but in Cochran's hands, they worked. Otis Redding's “Rock Me Baby,” for example, with lyrics that could have been suggestive, except that as Cochran delivered them, they weren't: they were explicit. Leonard Cohen's “Hallelujah,” was equally offbeat, with She tied you To a kitchen chair She broke your throne, and she cut your hair Much of the credit for the undeniable success of Cochran's performance goes to the delightful synergy between him and the Daryl Kojak group accompanying him. I've seldom heard six musicians support their vocalist as effectively. Kojak is, of course, a superb jazz artist, and the persistent though subdued underlying beat of his arrangements never overshadowed Cochran's singing. Ritt Henn on the Danelectro bass was almost a show unto himself. In the solo breaks, he went to town, musically and with an animation that was entrancing. Percussionist Rex Benincasa did wonders slapping his cajon sound box. All the musicians had opportunities to shine individually; Kojak on the piano, Dan Weiss on guitar, Antoine Silverman on violin, Henn and Benincasa, and backup singer Margaret Dorn were splendid as an ensemble and individually. The excellence of Cochran's show indicated something important, if there were doubters out there. That in today's cabaret venues, change is happening. While satisfying melodies with intelligently interpreted and intelligible lyrics remain the key, the appeal of contemporary performers and the excitement of their shows no longer need to be judged primarily in terms of how many Johnny Mercer, Cole Porter or Larry Hart songs are on the song list. Those of us who love cabaret and the magnificent accomplishments of the great songwriters may greet the change with mixed feelings, but Cochran's show inspires optimism. J-P Perreaux was technical director. Peter Leavy Cabaret Scenes October 22, 2008 www.cabaretscenes.org

Anthony Cochran

Metrpolitan RoomNew York, NY

Metrpolitan Room
New York, NY