Nnenna Freelon’s a capella start to the medley “Just You, Just Me” and “Blue Skies” (Berlin), showcases every nuance of her remarkable voice during one of only two instances she performs without use of her extraordinarily balletic hands. The other is a rendition of “Moon River” (Mancini/Mercer) she sings after speaking of her recently deceased mother. During both, she’s completely still, putting all attention into the evocation of feeling. You can hear a pin drop.

Commenting on Lena Horne’s influence as her aspirational “high water mark,” Freelon offers her own take on a number of songs associated with the star. The highpoint is a thrilling rendition of “Stormy Weather.” Unfortunately, too many numbers are similarly arranged and at odds with lyrics. The silken “Misty” (Burke/Garner) is sung as a somewhat raucous, up tempo mambo. A version of the ordinarily poignant “Smile” (Chaplin/Turner/Parsons) feels like it’s running a marathon. In uber-traditional jazz format, we get vocals, instrumentals with one or two solos, vocals and out. Though the band is clearly accomplished (Brandon McCune–piano, Wayne Batchelor–bass, Adonis Rose–drums), instrumentals can be overly long.

Freelon is elegant, speaks beautifully (though without making audience contact) , and has a uniquely skilled vocal instrument. Her heady, inventive musicality does loop-de-loops around melodies. She can scat with the best. One only wishes for more variation as dictated by the intention of the songs.

Alix Cohen
Cabaret Scenes
May 10, 2011
www.cabaretscenes.org