Gregory Generet reminds me of Fred Astaire. Generet’s presence in a room raises the elegance quotient. The artist is graceful in both movement and vocals, maximizing expression without being showy. His resonant baritone can fill every corner of a room with velvet sound, he can sing in a stage whisper, or deliver modified falsetto—always something of a surprise. And he scats!

His set at Smoke included: sambas, replete with carnival whistle, maracas, and the infectious rhythm of Lawrence Leathers’s percussion; sumptuously crooned pop with lovely piano turns by Rick Germanson;  blues (Generet growls, too) enriched by Stacy Dillard’s sax surfing the melody; jazz; and funk seasoned by Gerald Cannon’s effectively brooding bass.

“Rio de Janeiro Blues”—“Help me lose my soul in your song”— and “You Stepped Out of a Dream” are syncopated, hip-swaying numbers in which the vocalist favors short musical phrases. For “I Only Have Eyes for You” and “What Are You Doing the Rest of Your Life?” he smoothes and draws out the romantic lyrics as if to savor them, often with closed eyes. Generet’s sophisticated take on “I’ve Grown Accustomed to Your (Her) Face” offers bemused, as well as wistful, reflection. Hands in his pockets, he’s clearly addressing himself, a little surprised at the situation. Bass strings are plucked.

“I Ain’t Got Nothin’ but the Blues” and “Kiss and Run” are honey-cured, get down grooves— the blues can be stylish. A terrific arrangement of “What’s Going On” bends, slides, steps and nods. Vocals feel like riffs. “Angel Eyes” is up-tempo, jazzy, and too cool. Generet’s voice and manner are expansive. The sax flies.

Alix Cohen
Cabaret Scenes
September 27, 2012
www.cabaretscenes.org