Every once in a while perusing show listings I spy a special surprise and I go for it, anticipating a truly memorable evening.  In fact, as we were exiting Maurice Hines, my husband (man of few words) exclaimed “This is why we live in New York!”

Hines and his late brother Gregory were part of the very fabric of 1970s American TV with their numerous appearances on Johnny Carson’s Tonight Show (Was there any other?)  Maturing, they took off on their own and Maurice brought his talents to Broadway as the quintessential song and dance man—wowing everyone with his elegant dance moves, virtuoso tapping and stylish, jazzy singing.

It was pretty impressive that the cozy Triad stage was able to accommodate an eight piece band, piano (John Di Martino) and bass master Bobby Cranshaw, making the bass sing with the dexterity of a violinist.

As if that was not enough, mention must be made of the “Diva Jazz Orchestra.”  In this day and age of superb female band leaders, it almost seems as if one will soon have to mention the “Boys in Band” as the rarity.

Hines, of course was the main event and it was a pleasure to note that although he gave a nod to Sinatra, his style was all his own and never an imitation.  Whew!!!  Soon there will be more impersonators of Sinatra than of Elvis.

Hines had one purpose and it was to entertain his audience old school style, as he mentioned often.  With perfect phrasing, unerring swing and humor, he ran the gamut of standards from “I've Got You Under My Skin” and “Smile” to a touching tribute to his parents with a personal story of his father serenading his mom with “I’ve Grown Accustomed to Your Face."

Exiting the stage, he had the band take over with a “Caravan,” the likes of which I never heard before and probably never will again, as Sherrie Maricle (drums) took a thrilling solo that would have Buddy Rich green with envy.

Returning to stage in white on white and dance shoes he sent the audience into a frenzy as he tapped us into ecstasy.

Maurice commented that he was all style but no “notes.”   My opinion is that it his voice is just well-used but with a bit of vocal rest and relaxation (though I doubt he CAN relax), he can renew his instrument.

Melody Breyer-Grell
Cabaret Scenes
March 28, 2009
www.cabaretscenes.org