Cabaret Scenes Review - Betty LaVette

Bettye LaVette erupts onto the stage ripe and ready, her bold, sandpaper voice challenging “Take me like I am”—Eddie Hinton’s “I Still Want to be Your Baby”(Take Me Like I Am”). Recording since she was sixteen, and in the midst of a well-deserved comeback, LaVette dismantles most of what we think we know of familiar songs. Selections reflect a personal journey: blunt, bitter, then phoenix-like, rising from ashes.

Numbers “written by 20-something boys who were high, sung by a 65-year-old black woman who is drunk,” include George Harrison’s “Isn’t It a Pity” —slow, subdued, wrenching with a imploring catch in the singer’s voice; Paul McCartney’s “Blackbird”: “Blackbird fly/Into the light of the dark black night,” LaVette urges, as if she were praying. The gorgeous arrangement swells with ravaged hope. And “Love Reign O’er Me” (Pete Townsend), which is ardent and beautiful. Do you remember Townsend writing beautiful songs!?

Short, funky, heavily percussive phrases map Lucinda William’s “Joy” (not a happy expression). Alan Hill and Charles Bartels provide able vocal back-up. LaVette’s silver-tipped fingers key the air. I defy you not to sway and bob. “No Time to Live” (Steve Winwood/Jim Capaldi) is about as visceral and personal a delivery as it gets. These are earthy spirituals, plain-spoken declarations with Mary Lou Williams moments. Bruce Springsteen’s “Streets of Philadelphia” sears like an open wound.

“While these were the songs of your youth, they were the nemesis of mine. Black airplay ceased on radio stations. The Supremes barely squeezed on through.” Highpoints of LaVette’s career are shared, the lows glossed over. She’s grateful to be at The Carlyle, but frankly thought she’d make it sooner. Hers is hard-won wisdom. “Somebody bring me some champagne.”

Arrangements support, but never overpower. The sound design is terrific. “’Round Midnight” (Thelonious Monk/Bernie Hanighen/Cootie Williams) is sizzle and satin. “A Woman Like Me,” written for her by Dennis Walker/Linda Thomas/Greg Brown, gets LaVette moving and the lady can move! Her eyes fix on and rivet those sitting in front. “This song exemplifies where I am right now…after an overnight success of 50 years:” “As close as I’ll get to ‘Heaven’” (Reneé Geyer) is hard and sweet at the same time. The bass sounds like strings. I never so fully understood the phrase “it hurts so good.” She sings of pain and hope. It’s a joyful noise. Bettye LaVette is a thoroughbred.

Alix Cohen
Cabaret Scenes
May 31, 2011
www.cabaretscenes.org



	Bettye LaVette Cafe Carlyle New York, NY
Bettye LaVette erupts onto the stage ripe and ready, her bold, sandpaper voice challenging “Take me like I am”—Eddie Hinton’s “I Still Want to be Your Baby”(Take Me Like I Am”). Recording since she was sixteen, and in the midst of a well-deserved comeback, LaVette dismantles most of what we think we know of familiar songs. Selections reflect a personal journey: blunt, bitter, then phoenix-like, rising from ashes. Numbers “written by 20-something boys who were high, sung by a 65-year-old black woman who is drunk,” include George Harrison’s “Isn’t It a Pity” —slow, subdued, wrenching with a imploring catch in the singer’s voice; Paul McCartney’s “Blackbird”: “Blackbird fly/Into the light of the dark black night,” LaVette urges, as if she were praying. The gorgeous arrangement swells with ravaged hope. And “Love Reign O’er Me” (Pete Townsend), which is ardent and beautiful. Do you remember Townsend writing beautiful songs!? Short, funky, heavily percussive phrases map Lucinda William’s “Joy” (not a happy expression). Alan Hill and Charles Bartels provide able vocal back-up. LaVette’s silver-tipped fingers key the air. I defy you not to sway and bob. “No Time to Live” (Steve Winwood/Jim Capaldi) is about as visceral and personal a delivery as it gets. These are earthy spirituals, plain-spoken declarations with Mary Lou Williams moments. Bruce Springsteen’s “Streets of Philadelphia” sears like an open wound. “While these were the songs of your youth, they were the nemesis of mine. Black airplay ceased on radio stations. The Supremes barely squeezed on through.” Highpoints of LaVette’s career are shared, the lows glossed over. She’s grateful to be at The Carlyle, but frankly thought she’d make it sooner. Hers is hard-won wisdom. “Somebody bring me some champagne.” Arrangements support, but never overpower. The sound design is terrific. “’Round Midnight” (Thelonious Monk/Bernie Hanighen/Cootie Williams) is sizzle and satin. “A Woman Like Me,” written for her by Dennis Walker/Linda Thomas/Greg Brown, gets LaVette moving and the lady can move! Her eyes fix on and rivet those sitting in front. “This song exemplifies where I am right now…after an overnight success of 50 years:” “As close as I’ll get to ‘Heaven’” (Reneé Geyer) is hard and sweet at the same time. The bass sounds like strings. I never so fully understood the phrase “it hurts so good.” She sings of pain and hope. It’s a joyful noise. Bettye LaVette is a thoroughbred. Alix Cohen Cabaret Scenes May 31, 2011 www.cabaretscenes.org

Bettye LaVette

Cafe Carlyle New York, NY

Cafe Carlyle
New York, NY