Nicolas King has been called an “old soul,” but, in spite of over ten years experience in television, commercials, three Broadway productions and other live performances, it’s not particularly intuitive since he’s only 19.  To see and hear King on stage and witness the audience reaction is like being at a concert in which a legendary star performer has agreed to do just one final show for his loyal fans. In this instance, the legend in training would have to be Mel Tormé, Bobby Darin and Mark Murphy rolled into one.

Backed by the extraordinary Musical Director Mike Renzi on piano, Chip Jackson on bass and Bill Hayes on drums, King lit up the room with a fast-moving “There’s a Boat Dat’s Leavin’ Soon for New York” connecting with the audience, and probably the Gershwins’ and Dubose Heyward’s ghosts, on the first bar. It didn’t take long for the scatting to begin with the song that practically launched Ella Fitzgerald as a scatter – “Mr. Paganini,” aka “(If You Can’t Sing It) You’ll Have to Swing It,” written by Sam Coslow.  Let it be known that King’s résumé should reflect an excellent talent for scat.

As a definitive jazz singer, King can both sing it and swing it as in “Johnny One Note” (Rodgers & Hart), “The Money Tree” (Kander & Ebb) and “Pick Yourself Up” (Fields & Kern), in which he channeled the grand master of scat, Mel Tormé, as if “The Velvet Fog” were in the room.  Mike Renzi, who was Tormé’s longtime accompanist, created every arrangement, including a fabulous Cy Coleman medley (including songs with Carolyn Leigh lyrics: “The Best Is Yet to Come,” “Real Live Girl,” “I’ve Got Your Number” and “Witchcraft”).

One of the best segments was a pairing of “Where Is Love?” (Lionel Bart) and “Blame It on My Youth” (Eddward Heyman & Oscar Levant), allowing King to slow it down long enough to demonstrate his way with a ballad.  He sang the beautiful, evocative words with a rich resonance, expressing an enlightened understanding that belied his own youth.

While it’s not unusual for a singer to invite a surprise guest on stage, King called up his vocal coach and manager, Angela Bacari, who is also his grandmother. Ms. Bacari doesn’t look the least bit grandmotherly, although she has been singing professionally for many years.  King and Bacari linked “Stormy Weather” and “When the Sun Comes Out” (both tunes by Koehler & Arlen), their deliveries forceful, dramatic showstoppers.

For someone with his credentials and talent, Nicolas King appears to be rather modest.  Although his performing skills are sophisticated, his stage persona suggests a young man who can’t quite believe that he’s gotten to where he is.  Far from being an overnight success, King has been working with some of the best names in the business since the age of nine.  With continued opportunities for exposure and further seasoning, there’s no telling where this young man will be in another decade.

Jerry Osterberg
Cabaret Scenes
June 6, 2011
www.cabaretscenes.org