The old and newer pages of The Great American Songbook are in good hands at the Café Carlyle this month. Some of those hands are on strings (brothers John and Martin Pizzarelli expertly on guitar and bass, respectively), two (seems like more) floating all over the piano (Larry Fuller) and Tony Tedesco's on percussion as Jessica Molaskey and John Pizzarelli sing serenely and sublimely through the Songbook's chapters.  A bookmark lingers in the Ellington chapter, marking John's most recent tribute CD, and many other selections are older ones by the masters (thought not necessarily the overdone ones; Cole Porter's playful and sly "It's Bad for Me" is a welcome choice.  And Irving Berlin's more often heard "Count Your Blessings (Instead of Sheep)" is sung with such thoughtfulness and unfettered sincerity by John in ballad mode that it seems fresh.  You can count on that—and Jessica then comes in with Rent's "Seasons of Love," usual a powerhouse blast, taken with similar reflection and sung so creamily and with passion that does not depend on bombast but suggests maturity and understanding.  The pair have made a habit of pairing songs from different eras and styles so that they comment on each other and weave in and out. This may be in danger of overdoing a good idea so that it seems to some like "Here they go again with their musical matchmaking service,” but it always seems to work, so no complaints here.  It also allows for some editing out of lines that might not work out of context, such as John focusing on the sweetness and chucking the venom in (no irony intended) "You Must Meet My Wife."  This number, from the currently-on-Broadway-again A Little Night Music was written as a duet, but they don't take that obvious route.

A strong case is made, in Jessica's solos, for the inclusion of songs by folksy singer-songwriters Joni Mitchell (an obvious favorite) and Tom Waits (a mesmerizing "Drunk on the Moon" that would make one think all cabarets should have a two-moon minimum if such intoxicating magic can be something to so appreciatively drink in).  Unlike some singers who admire Mitchell but self-consciously ape or are stymied by her unusual melodic leaps and arty poetic lyrics of the confessional bent, Jessica finds these and others all in her comfort zone.  She makes them her own.  John, whose gift for glib comedy and vocal impressions were held somewhat in check on opening night, did a brief dead-on copy of Waits's dark, gruff, ravaged mumble-jumble of a voice.  The married singers seem comfortable in their own skins and the songs' varied moods, reveling in each other's personal and musical company and the welcoming environment and earned enthused audience reception.

The band is excellent, as always, toned just right for the room's close-up, posh feel—but not hesitant to cut loose on the Ellington specialty "C Jam Blues" as their instrumental holiday.  The only disappointment is not to have, as their other shows often had, an original song or two by Jessica and John whose songwriting talents are a valued part of their broad skill sets.  And a little more talk would be enjoyed, as the audience seems to dig their sense of humor (John talks about someone living in a modern, luxury building with laundry facilities where you get a text message when the washer or dryer have finished spinning.)  Singing or swinging, shmoozing or infusing old and new songs with their intelligence and heart and musical smarts, this act seemingly can do no wrong.  It would be so wrong to miss a chance to see them.

John & Jessica are at Café Carlyle through November 6.

Rob Lester
Cabaret Scenes
October 5, 2010
www.cabaretscenes.org