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Clint HolmesThis Thing Called Love
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![]() He connected these two artists with a little story that began: “Cole Porter and Paul Simon walk into a bar.” This imaginary meeting was brought up several times. Otherwise, he used musical means, such as employing a synthesizer to join “The 59th Street Bridge Song” (“Feelin’ Groovy”) with “It’s De-lovely,” and overlaying the songs with similar styles, as in “Have a Good Time” and “It’s All Right with Me,” both of which he mined for all their irony, flirting with the audience as he slipped off his jacket. Mostly, he eschewed any semblance of the original or well-known arrangements, giving new life to these often-heard songs. Despite his ability to croon with the best of them, he almost whispered “I’ve Got You Under My Skin” and shook up “Night and Day” with sassy Brazilian rhythms. He did Simon’s “Slip Slidin’ Away” casually, as if complaining to the man on the next bar stool, and found the sad irony in “50 Ways to Leave Your Lover” and the dark underbelly of “Still Crazy After All These Years,” performed slowly and haltingly, savoring the sad effects of “all these years.” Holmes combines the pizzazzy personality of a Las Vegas showman with the thoughtfulness of the best pop song interpreters like Sinatra, Clooney and Bennett. His Musical Director/pianist Jeffrey Neiman, who played standing up, was always an active participant, aided by the extraordinary musicians Steven Bescrone (bass), Greg Utzig (guitar), Sherrie Maricle (a rare female drummer), Richie Rodriguez (percussion) and Kenny Gioffre (saxophone). Cint Holmes is at Café Carlyle through April 28. Joel Benjamin |
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