Charming was the first word that came to mind as Brian d’Arcy James took the stage at the terrific new cabaret space, 54 Below. He’s easygoing, yet together, boyish, but sexy, and possesses a many-colored, strong voice. Backed by two singers and a seven-piece band under the witty direction of Dan Lipton (who provided most of the evening’s arrangements), D’Arcy James presented works that stimulated him as a teenager and remained with him ever since.

Billy Joel, a major influence, was represented by three selections, the best of which was “She’s Got a Way,” which he crooned in a near falsetto. Joel’s “Worse Comes to Worst” was notable for a witty use of the drummer (Damien Bassman) and percussionist (Greg Joseph). “Julie, Do Ya Love Me?”(Tom Bahler,) a silly, but unforgettable combination of lovesick lyrics and a repetitive rock & roll tune d’Arcy James first heard on an 45 RPM record, was given some sophistication by his  joyous singing against a trumpet (Bob Millikan) obbligato. A chuckling guitar solo (Erik Della Penna) gave “Between Us” (Harry Connick, Jr./Ramsey McLean) some jazzy sophistication. The opening number, “Take It as It Comes” (Steve Winwood/Will Jennings), was upbeat in its fatalistic resignation and Dan Lipton’s pounding piano solos kept the energy flowing.

Two moving songs showed the more subtle shadings of d’Arcy James’s voice: “Saratoga Song” (Kate McGarrigle) was a wistfully sad poem about reluctance in having to leave a favorite summer place, set to a lovely tune, and his finale, Genesis’s (Collins/Banks/Rutherford) “That’s All,” which deals with facing facts in a mature way. His last “that’s all” was nearly heartbreaking.

Clarke Thorell and Haven Burton, both Broadway veterans, were the cheerful backup singers. The unmentioned, but brilliant, musicians were Nicholas D’Amato (bass) and Paul Vercesi (saxophone), each of whom had fine solo moments.

Joel Benjamin
Cabaret Scenes
June 27, 2012
www.cabaretscenes.org