Songwriter Sammy Cahn called Johnny Burke "the Irish poet"; he was known for ethereal images like "Polka Dots and Moonbeams."  Burke, however, also had a blunt earthiness. Take a quintessential saloon song "Here's That Rainy Day" with its line, "Funny, how love becomes a cold rainy day."

Burke collaborated with various composers Arthur Johnston ("Pennies from Heaven") and Erroll Garner ("Misty") — but his long-time collaborator was the multifaceted Jimmy Van Heusen.  Along with his numerous hit tunes were those in the Bing Crosby and Bob Hope landmark Road pictures.  In Lyrics & Lyricists' 40th Anniversary salute, Misty: Johnny Burke After Hours, host/jazz pianist/singer Daryl Sherman aimed to display all sides of Burke's lyric sensibilities: a good choice since Sherman knows the popular/jazz canon and, just as important, knows which singers and instrumentalists can best put the songs across.  She gathered cabaret's golden couple, Eric Comstock and Barbara Fasano, crooner Jeff Harnar and belter Terri White.  Mary Burke, widow of the lyricist, was a special guest, and joining them were gold medal jazz instrumentalists — Warren Vaché on trumpet, Gene Bertoncini on guitar, and Jay Leonhart on bass.  Sherman on piano joined this category, also supporting the singers with attentiveness.  Everyone had a moment to shine, and shine they did.

According to Johnny Burke, the success of his lyrics like "Swingin' on a Star" and "Moonlight Becomes You" came from listening to Bing Crosby's speech patterns and phrasing.  A poignant example of Burke's conversational style was Jeff Harnar's honey-toned baritone delivering the melodic monologue, "What's New?"  Burke wrote the lyrics to a melody Bob Haggard had written for trumpeter Billy Butterfield in the Bob Crosby band.  Vaché and his trumpet stepped in beautifully for a well-arced interpretation.  For a fresh view of "Moonlight Becomes You," Harnar went into his pop falsetto with Leonhart's rock 'n' roll bass.

Barbara Fasano was a knockout singing "But Beautiful" with Bertoncini's guitar, letting the words and spare accompaniment tell it all with simplicity.  Husband Eric Comstock brought life to several lesser-known songs, including a rhythmic Lena Horne favorite, "You Don't Have to Know the Language" and a solid, I-told-you-so tune, "Humpty Dumpty Heart."

Terri White's big brass tone deftly handled the harmonically challenging "Here's That Rainy Day."  "Pakistan" fit Leonhart's dry wit vocal and bass style and Vaché at the mic brought memories of Louis Armstrong singing "Skeleton in the Closet," adding the robust “Pops” trumpet sound.  Sherman gave "Misty" a sensuous Latin undercurrent.

Memorable moments, yes, but also sluggish ones.  The performers were first-rate but the staging had clumsy portions of movement, positioning and uncomfortable pauses.  Mary Burke was a welcome addition, but while her singing was tasteful, her comments added little to the show.  Crisper direction with less patter and a smoother pace could have nailed a better appreciation of Johnny Burke with fewer than thirty-four songs.

Elizabeth Ahlfors
Cabaret Scenes
February 20, 2010
www.cabaretscenes.org