Stacey Kent possesses two important things that are essential for becoming a notable vocal interpreter: A distinctive sound, and, even more importantly, the gift of good phrasing. Her well-crafted CDs have enabled her to enjoy a worldwide career of enviable success.

In her current run at Birdland, it was apparent once again that the band can make or break a singer. I’m happy to report that Kent’s musical collaborators were stellar in their taste and facility. The evening was a smooth ride with a final, stirring last stop.

Opening with Jobim’s “Waters of March,” her bent for bossa nova was revealed and reinforced throughout the evening. Miss Kent’s performance is in the style of the Blossom Dearie school of singing.  Her fluffy, delicate sound is never forced, but is limited in range, if not expression. She uses short phrases and words, never holding a note for any significant amount of time. I do not know if it is a choice or limitation, but her work is all of one piece – effervescent and lightly romantic.

Early in the show, the vocal in “Too Many Stars” was preceded by the lovely sax playing of Ms. Kent’s husband Jim Tomlinson, who is also a songwriter. One of her signature tunes, “Close Your Eyes” was swung gently and soothingly, revealing the artist’s strongest calling card. In a world of screeching voices and overpowering bands, her singing was like a balm.

Then there is the delicate matter of “original tunes.” Of course all standards start as original tunes, either becoming instant hits or taking a longer road to reach renown. Kent’s choice of originals written by Tomlinson and Kazuo Ishiguro, (the celebrated author of Remains of the Day) do not strike me as songs that will enter that sacred cannon. The tunes are pleasant and some catchy (“Breakfast on The Morning Tram”) and the lyrics are mostly interesting, but they do not consistently scan and are rather awkward in form. As usual, it seems that the most effective jazz tunes are spawned from pop (with the great exception of Ellington and Strayhorn) as Mr. Tomlinson’s touching and inspired instrumental of “Alfie” seemed to demonstrate.

Closing with "Samba Saravah" from the French film A Man and a Woman, the band really shone with stunning solos for all the players. An encore of “What a Wonderful World” concluded this pleasant evening on a tender note.

Melody Breyer-Grell
Cabaret Scenes
June 2, 2009
www.cabaretscenes.org