With Johnny Mercer's (1909 - 1976) centennial just around the corner in 2009, west coast crooner Lee Lessack comes to St. Louis for the first time (October 29^th through November 1^st) to perform in the cabaret at the Kranzberg Center, and pay tribute to the lyricist and composer with a delightful show centered around  songs from his 2001 CD Too Marvelous for Words. It's a lovely evening filled with romance, and the engaging baritone of Lessack, as he sings and relates tales from Mercer's life story.

Mercer composed the lyrics to some of the most familiar melodies of the 20^th century, and his legacy will probably outlive us all. He also worked with some of finest composers as well including: Harold Arlen, David Raksin, Hoagy Carmichael, Jerome Kern and Henry Mancini. Lessack's cleanly defined approach provides a focused clarity that allows you to fully comprehend each nugget of wit and wisdom proffered by Mercer.

Opening with “My Shining Hour,” Lessack obviously loves this music, and it clear that he strives to find the heart and humor at the center of each selection. A series of medleys followed grouping familiar songs like “Too Marvelous” with “Day In-Day Out” and  “Old Black Magic” to illustrate their similarities and their differences in a sparkling arrangement.

A splendid pairing of “Dream” and “Laura” led into an extended talk about Emma Kelly, a pianist in the south who knew every one of Mercer's thousand or so songs. Lessack and his versatile musical director and pianist, Chuck Larkin (on temporary leave from Jersey Boys), then launched into an eclectic set of melodies that shed further light on Mercer's reach into the public conscious.

Lessack had fun with the seldom heard “Air-Minded Executive” before launching into a tale concerning Sadie Vimmerstedt's collaborative effort on the Tony Bennett hit “I Wanna Be Around.” After the smooth sounds of “Skylark,” and the comic nonsense of “Whatcha-Ma-Call-It,” Lessack broke out his “fluke” — a kind of customized ukulele — and made a nice pass through the amusing tune “Pineapple Pete.”

Lessack then related how Mercer's widow had found a treasure box filled with lyrics and sent them off to Barry Manilow to see if he could find a use for them. The resulting song, “When October Goes,” has a Michel Legrand flavor to it that I particularly enjoyed.

Closing the night in fine fashion, Lessack merged three numbers that feature Mercer's beautiful lyrics for the music of Henry Mancini: “The Days of Wine and Roses,” “Charade” and the sentimental, but unforgettable favorite, “Moon River.” It was a strong finish for a well paced affair that found Lessack in top voice, easily charming the audience while regaling us with anecdotes about Mercer's career.

Before the show began, the wife of the gentleman seated in front of me turned to me and said: “I think you're the youngest person here.” I suppose I was, and maybe that's a shame, because there is an audience for this material. If there wasn't, young and talented singers like Lee Lessack wouldn't still be drawn to its irresistible charm. I know I am.

Chris Gibson
Cabaret Scenes
October 29, 2008
www.cabaretscenes.org