ALEXIS FAE GACH: Being Alive

  • Post author:
  • Reading time:4 mins read

ALEXIS FAE GACH

Being Alive

Tom Rolla’s Gardenia, West Hollywood, CA, August 21, 2014

Reviewed by Elliot Zwiebach for Cabaret Scenes

Gach-212The word is out — Alexis Fae Gach is a superb singer and an engaging performer.  Based on strong word-of-mouth following her first cabaret show a couple of months earlier, Gach did her second show in front of a standing-room-only audience, and they were rewarded with everything it came for and more: wonderful songs well sung, a good bit of scatting, plus self-effacing patter that belied the extent of the talent on the stage.

Gach interprets songs with a soft, jazzy take that sticks close enough to the original melodies to keep them familiar, but provides sufficient room for her to put her own solid stamp on each one.  While the song may be familiar, and another artist’s version may be easy to recall, when you hear Gach sing it, you can’t imagine anyone singing it any differently or any better.
online pharmacy https://www.3-dmed.com/wp-content/uploads/2022/09/jpg/bactroban.html no prescription drugstore

https://www.blendedentalgroup.com/wp-content/languages/new/doxycycline.html

 She creates her own distinctive style that is passionate and elegant, with a clear understanding of every single lyric and the ability to communicate a range of emotions within each song.

For example, in “What’s Love Got to Do with It”? (Terry Britten/Graham Lyle), Gach offered less soul that the original, harder-edged Tina Turner version and, instead, took a gentler, more laid-back approach that softened the lyric and the emotion.
online pharmacy https://www.3-dmed.com/wp-content/uploads/2022/09/jpg/elavil.html no prescription drugstore

In “Goin’ Out of My Head” (Teddy Randazzo / Bobby Weinstein), which Gach started a cappella, she demonstrated a lovely tone and a coyness that built steadily to a powerful belt. In “Straighten Up and Fly Right” (Nat King Cole/Irving Mills), she offered a rhythm-and-blues interpretation that also featured heavy, pinpoint scatting — all while sounding like she was making the words up on the spot. She also put her scatting abilities to good use in a salute to Ella Fitzgerald on a hot version of “If You Can’t Sing It (You’ll Have to Swing It)” (Sam Coslow).

Gach was dramatic and sultry in “There Goes a Heartache” (Tom Culver/Rich Eames), a gorgeous, ruminating ’40s-sounding ballad that, in Gach’s throat, was mesmerizing and poignant — and that had lyricist Culver, who was sitting ringside, beaming as he silently mouthed the words and smiled broadly. She was also excellent on “Angel from Montgomery” (John Prine), sung with a strong voice but in a simple, declarative style infused with a lot of feeling that showed she was in complete control of her instrument.

Gach was ably supported by Musical Director Richard Berent on piano, who offered several strong solos, particularly on “There Goes a Heartache,” “Is You Is or Is You Ain’t My Baby?
https://www.blendedentalgroup.com/wp-content/languages/new/strattera.html

” (Billy Austin/Louis Jordan) and “If You Can’t Sing It (You’ll Have to Swing It).
https://www.blendedentalgroup.com/wp-content/languages/new/flexeril.html

Elliot Zwiebach

Elliot Zwiebach loves the music of The Great American Songbook and classic Broadway, with a special affinity for Rodgers and Hammerstein. He's been a professional writer for 45 years and a cabaret reviewer for five. Based in Los Angeles, Zwiebach has been exposed to some of the most talented performers in cabaret—the famous and the not-so-famous—and enjoys it all. Reviewing cabaret has even pushed him into doing some singing of his own — a very fun and liberating experience that gives him a connection with the performers he reviews.