The outstanding solo debut of Cornelius Bates, entitled My Brazilian Romance, at the Metropolitan Room on January 20, was unforgettable. Singing in his soft, beautiful baritone, “Make This City Mine,” he used his velvety voice, reminiscent of crooners of an earlier time, to convey the feeling of romance. That mood or feeling was produced by his soulful sound, his facial expressions and very good eye contact with the audience to pull it under his spell. Emphasizing that effect was the irony of variation in his singing of the next tune, “One Note Samba.” The words could not have been more clearly enunciated yet, during the singing of this, the tall, slim, graceful performer danced oh-so-smoothly in a sophisticated, romantic way that added another dimension to his act. Drama came in the contrasting intensity of his voice at the end of the song. At this point, the number and variety of his talents was extraordinarily impressive, and they only increased before his act was over.

What could be a more intriguing way to introduce “Manhã de Carnaval” than with a provocative question: ”Where did [my] romance with Brazilian music begin?” the American-born Bates asked. “With this song,” he answered. Softly he romanced the audience in Portuguese. One didn’t have to know Portuguese to feel the loving intent and romantic mood of the song. Bates has a great voice for the music of romance, and here the wailing sound of Michael Leonhart’s trumpet provided the perfect backup.

And what would a sample of Brazilian music be without the bossa nova, or new wave, originating in Brazil but now popular almost everywhere in the Western World? In “Midnight Sun,” Bates provided wonderful phrasing and an exciting song delivery including sexy sounds and movements that at an earlier time would have been considered risqué. And that new beat has produced a “new” song: “I Want To Hold Your Hand.”  The new version was wonderfully thrilling to this longtime Beatles fan.

Throughout the act, the excitement in the room was palpable. Bates got the audience to participate in the show by teaching them some Portuguese phrases and cuing when to join him in singing them. Encouraged handclapping to the beat also filled the Metropolitan Room with Brazilian rhythms.

Marcos Vigio, Musical Director of the act, also accompanied Bates on the electric guitar, joined by percussionists Nanny Assis, Robert Di Pietro and Michael Leonhart (who doubled on the trumpet).

Gloria Taplin
Cabaret Scenes
January 20, 2010
www.cabaretscenes.org