One must really acknowledge the fast passing of time when accepting the fact that the prodigious Jane Monheit is in her fourth decade! Once almost exclusively known for her youth, appearance and vocal luster, Ms. Monheit can now be viewed as a mortal. Though much time was spent pondering if she was a real “jazz singer,” I always believed that the issue at hand was the delivery of a lyric and the connection to the song, whatever the chord changes or interval leaps involved.

That said, while Jane is older and a mother (something she mentions several times), she has not really changed that much. I doubt that any opinions would be really changed, as she still possesses the uniquely warm voice (that records so well) and debatable stage presence.

The type of depth that makes an Edith Piaf or a Billie Holiday does not rely on age or even life experience as much as an inborn word view. If Monheit has felt deeply moved by her life, it does not show in her performances now, nor did it show ten years ago. She just ain’t got the blues—and I am not talking musically. Her essence is of someone here to get the job done, sweetly and winningly, but efficiently just the same.

Somewhat perturbed with the crowd's size and cool reception, she mentioned that we must be tired as she acknowledged that that she was. It seemed like dispassionate observation, perhaps of a defensive nature. Maybe 11:00 sets are just too late in this weary world.

In a show of mostly upbeat arrangements, some scored better than others. Her swinging “Cheek to Cheek” was clearly on the mark, displaying her voice at its most supple and sparkling. I was less enchanted with the sped-up versions of “That’s All” and “Stardust”—especially the latter. A swinging, scatted “Stardust” obliterates the meaning of the words and the very sentiment of the music. Closing the show with a rather awkward juxtaposition of “Rainbow Connection” and “Over the Rainbow” (just because a song has some of the same words does not make it a good medley) showed Monheit in both her vocal glory and shortcomings. When she really let go of her voice and let it soar, one could hear a larger instrument begging to be freed but, on some of the reduced volume passages, her pitch drooped and frayed with the odd vowel formations that were not present earlier in her career. Is she just tired or trying to sound more jazzy? Either way, as one of the busiest singers of the decade, maybe she needs a bit of a vacation.

Melody Breyer-Grell
Cabaret Scenes
January 12, 2010
www.cabaretscenes.org