Possessing a powerful voice and a stage presence to match, Patti Austin, who sang with the famed Count Basie Orchestra, gave a performance Saturday night at Carmel’s Palladium that was nearly flawless.
The concert entitled A Tribute to Ella & Basie at Carmel’s Palladium was part of the Center for the Performing Arts’ Jazz Roots: A Larry Rosen Jazz Series.
The first half of the program featured the 70-year-old, 17 piece big band founded by Count Basie, who died in 1984. Featuring numerous solos from its seasoned world-class musicians, the orchestra captivated the audience as they played recognizable standards from its repertory.
Selections included Basie’s Sixteen Men Swinging, Who Me? by Frank Foster, Kansas CityShout by Ernie Wilkins, Mercer Ellington’s Things Ain’t What The Used To Be, Shiny Stockings by Frank Foster and One O’Clock Jump, also written by Basie.
Dennis Mackrel, the band’s conductor, was complementary when he told the audience that the orchestra had played in venues all over the world but that Palladium was one of the most beautiful ones he had ever seen. Saying that “You got this right,” Mackrel then introduced the quietly romantic Li’l Darlin’ by Neal Hefti, which he said (presumably in reference to the hall’s vaunted acoustics) “only works in a place like this.”
His comment proved to be accurate, as demonstrated by a couple seen slow dancing cheek to cheek, high above in one of the hall’s balconies as the song was played.
Another special moment during the orchestra’s set took place during a soulfully compelling solo by baritone saxophonist, John Williams (who has played with the orchestra for 40 years), in Carney by Rick Henderson.
Grammy award-winning Austin, who has enjoyed a 50-year career that has seen her touted as a singer who “transcends styles and eras,” is acclaimed for her success in the R&B and pop music realms.
During Act 2 of the concert, Austin was accompanied by the orchestra and her trio consisting of musical conductor and pianist, William Kilson on bass and JoHannes Wedienmuller on drums. She left no doubt that she is among the world’s finest jazz singers during this tribute to the legendary Ella Fitzgerald, known as “The First Lady of Song.”
Fitzgerald, who was known for her distinctive and exceptional tone, diction, phrasing, and scat singing, was indeed an original. Austin showed, however, that she is a worthy successor to Lady Ella’s mantel in a program that showcased her own unique and special vocal gifts.
Singing tunes (some from her 2002 album, For Ella) Ella made famous, Austin’s song list included To Close For Comfort, Honey Suckle Rose, (If You Can’t Swing it) You’ll Have to Swing It (Mr. Pagganinni), Our Love Is Here To Stay, A Tisket A Tasket, Hard Hearted Hannah, and But Not For Me.
Highlights of her set included a gospel-tinged arrangement of Cole Porter’s Miss Otis Regrets, How High The Moon in which she replicated Ella’s exact scat (which Ella copied from Charlie Parker), and a heartrending rendition of The Man I Love by George and Ira Gershwin.
Austin’s encore number was “Hearing Ella Sing,” an affectionate tribute song by Patrick Williams.
Threading her act with fascinating tales about Ella’s personal life and career, the outspoken Austin also shared commentary (a bit verbose at times) filled with her own observations, opinions and experiences which, more often than not, targeted women in the crowd.
For tickets and information about upcoming performances at the Palladium, call (317) 660-3373 or visit www.thecenterfortheperformingarts.org.
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