Ron Dabney: Tonight … Won’t Be Just Any Night

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Ron Dabney

Tonight … Won’t Be Just Any Night

Metropolitan Room, NYC, March 2, 2016

Reviewed by Peter Haas for Cabaret Scenes

Ron-Dabney-What-You-Need-Cabaret-Scenes-Magazine_212Ron Dabney gave a party. It wasn’t promoted as one, but a joyful party is what his show became—thanks to a full house that enthusiastically enjoyed his winning style, his deep, rolling voice reminiscent of burnished oak, his selection of popular standards, and the musicianship of the Barry Levitt Jazz Quartet—Levitt on piano, Steven Freider on sax, Jon Burr on bass and Duane Broadnax on drums—providing rich accompaniment throughout the evening.

This was Dabney’s return to the Metropolitan Room, a one-shot after a year’s absence. He showed strong growth in his singing and his programming, supported by his relaxed, beaming presence on stage.
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The theme was love—introduced by an upbeat medley of a jazzy “Tonight” (Bernstein/Sondheim), a short “L.

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O.V.E.” (Gabler/Kaempfert), and brief bows to “What Is This Thing Called Love?” (Porter) and “This Can’t Be Love” (Rodgers and Hart).

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The darker side of the topic was portrayed in “Guess Who I Saw Today” (Boyd/Grand), followed by a quietly magnetic “You Don’t Know What Love Is” (de Paul/Raye). This latter featuring a sax solo by Freider. A salute to Billie Holiday was offered by Dabney’s fine rendition of her “Fine and Mellow,” while he went scat with “I’m in the Mood for Love” (McHugh/Fields) and sweet with Mandel/the Bergmans’ “Where Do You Start?.” Other selections—same theme but a variety of moods—included Billy Strayhorn’s “Lush Life,” John Bucchino’s strong “What Do You Need?” and Ann Hampton Callaway’s “Perfect.” The windup, to enthusiastic cheers as the singer exited, was “Tomorrow” (Strouse/Charnin).
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One thought for Dabney’s “tomorrow” shows: a solid hour of one singer’s solos, performed in one position in one spot, can become numbing. One number by a guest singer or one featuring the band and its talents might have offered a welcome change of pace. Nevertheless, the affection and appreciation flowing from the audience to Ron Dabney throughout his show was evidence enough that he will be welcomed back, in whatever form of show he chooses.

Peter Haas

Writer, editor, lyricist and banjo plunker, Peter Haas has been contributing features and performance reviews for Cabaret Scenes since the magazine’s infancy. As a young folk-singer, he co-starred on Channel 13’s first children’s series, Once Upon a Day; wrote scripts, lyrics and performed on Pickwick Records’ children’s albums, and co-starred on the folk album, All Day Singing. In a corporate career, Peter managed editorial functions for CBS Records and McGraw-Hill, and today writes for a stable of business magazines. An ASCAP Award-winning lyricist, his work has been performed at Carnegie Hall, Feinstein’s, Metropolitan Room and other fine saloons.