Carole J. Bufford: Shades of Blue

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Carole J. Bufford

Shades of Blue

The Crazy Coqs, London, U.K., January 29,  2015

Reviewed by Mychelle Colleary for Cabaret Scenes

Carole-J-Bufford-Boulevard-of-Broken-Dreams-Cabaret-Scenes-Magazine_212There is always a fear when a singer arrives in London from New York with effervescently glowing press that disappointment awaits.

Thankfullym in the case of Carole J. Bufford, the talent exceeds the hype.

Bufford has been compared to some of the greatest 20th century singers, and while somewhat flattering, gratifyingly inaccurate. She has a voice all her own. More than that, she commits to a focused intention, acting the lyrics, thereby crafting vivid vignettes rather than merely delivering songs. She possesses that often elusive but winning combination of talent and craft.
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Though in fairness, one can hear Streisand-like phrasing time and again, catch a glimpse of the capricious flamboyant dramatic energy of Minnelli’s Sally Bowles, and be reminded of adult Garland’s emphatic emotive limb-waving.
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 But the total package is inimitably Carole J. Bufford. She already has signature turns of phrase and a signature move (head titled back and to one side, mouth open wide in full belt, whilst her arms and hands hold the note like an imaginary beach ball) that uniquely identify this dramatic impish modern flapper.

Shades of Blue is an eclectic collection of songs that either are blues or blues-related, loosely strung together with bits of trivia or personal anecdotes — presented in somewhat chronological order. The strength of this program is the juxtaposition of sassy sophistication applied to one of the simplest musical forms. Blues have a harmonic chord progression with which all (or most) audiences would be familiar, and subsequently a comfy aural point of reference for all of the material in the show. The unconventional arrangements of very well-known songs provide excitement within this sheltered sonic environment. Aptly supported by Nathan Martin who accompanied and played, on piano, what would likely have been bass and percussion solos in a trio setting.

The judicious patter provided captivating connective tissue, with enough idiosyncratic information to make the audience feel like they were learning something new, in-the-know hip, whilst not overpowering the main focus: beautiful music and singing. However, one thing did strike me as strange: Bufford’s persona exudes an undercurrent of joy (seemingly prone more to laughter than tears), which is at odds with the gut-wrenching sorrow/loss/pain/heartache associated with blues as a genre. Not bad, just a little anomalous. Clearly, her own shade of blue(s).

Mychelle Colleary

Mychelle Colleary (native Californian, honorary New Yorker and now Londoner) graduated with a Bachelor of Arts degree in Music from San Jose State University. Her first professional acting role was at 18 and she worked in theater for two years before attending University. As a jazz vocalist, Mychelle has performed internationally and has shared the stage with greats such as Carl Anderson, Clare Fischer and Bobby McFerrin. She currently divides her time between project management (design & communications) and being on a stage or in an audience. From musical theater to classical to folk rock to jazz to cabaret, Mychelle brings her collective professional experience and insight to reviewing.