Richard Malavet: Sings The Billy Eckstine Project: Songs in the Key of “B”

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Richard Malavet

Sings The Billy Eckstine Project: Songs in the Key of “B”

Metropolitan Room, NYC, June 10, 2016

Reviewed by Marilyn Lester for Cabaret Scenes

Richard-Malavet-Cabaret-Scenes-Magazine_212Swing Era crooner Billy Eckstine, known among his peers as “Mr. B,” left a huge legacy when he passed in 1993.
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His importance is not only lovingly honored in this tribute by Richard Malavet, but the material fits him like the proverbial glove. Both singers possess a rich, mellifluous baritone as smooth as honey. In the first three selections, “You’re My Everything,” “I’m Falling for You” and “Fool That I Am,” he proved he’d studied Mr. B’s style and delivery well without aping Eckstine note for note. Indeed, most of the arrangements in the show are by Norman Simmons, who came along a generation or so later than Eckstine, and who is still very much with us. With standards such as “Always” and the closer, “Everything I Have Is Yours,” Malavet showed how resplendent a voice can be and why the current trend of power singing does a great disservice to such stunning material.

The narrative was of the informative kind – not overly so, but with a good idea of who Eckstine was, which was quite something in his day. He achieved a status bigger than Sinatra’s for a short moment in time and found rare acceptance and success with white audiences, especially with his mega-hit “Skylark,” which Malavet sang emotively. Before forming his own band, Eckstine, who also played trumpet, worked with Earl “Fatha” Hines, and was instrumental in Sarah Vaughan’s discovery. As a leader he promoted Dizzy Gillespie, Miles Davis and Charlie Parker. Hits during this time, included in this show, were “A Cottage for Sale,” “I  Apologize” and “Prisoner of Love.” Eckstine was one of Duke Ellington’s favorite singers, and that tie was acknowledged with “Do Nothing Till You Hear from Me” and a nicely phrased “Sophisticated Lady.”

If there is one flaw in the performer’s presentation it’s a curious paradox of sometimes seeming slightly uncomfortable on stage. On one hand he’s mellow and laid back, yet on the other appears a little anxious. Perhaps it’s a desire to please; he is attentive to politely and carefully addressing the entire audience. It’s in the more upbeat tempos that he relaxes and lets loose, such as on “Caravan” and “Jelly, Jelly.” Eckstine was principally a balladeer, and choosing a five-piece band for the show served the singer and the songs well. Musical Director and pianist John di Martino, with Carlo De Rosa on bass and Vince Cherico on drums, were augmented by Peter Brainin on tenor saxophone and Tim Ouimette on trumpet with cool sounds and mellow, extended solos that gave depth to Malavet’s very pleasing performance.
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Marilyn Lester

Marilyn Lester left journalism and commercial writing behind nearly two decades ago to write plays. That branch in the road led to screenwriting, script-doctoring, dramaturgy and producing for the stage. Marilyn has also co-authored, as well as edited, books. It seemed the only world of words she hadn’t conquered was criticism, an opportunity that presented itself via Theater Pizzazz. Marilyn has since sought to widen her scope in this form of writing she especially relishes. Marilyn is a member of the Authors Guild, Dramatists Guild, Women in the Arts and Media and The League of Professional Theater Women.