A celebration of the music of one of the greats is a welcome endeavor, made easier by Susie Butler's comparisons to a young Sarah Vaughan and a tight backup band that seamlessly switched genres from pop, swing, jazz, big band to bossa nova. Following the release of her very polished CD's Susie Sings Sarah and Doodlin, Butler has been performing the Sarah Vaughan songbook showing off her striking 4-octave voice.

This Plush Room show was anything but polished. Microphone problems ruined a number of songs, there were pitch/key problems on others (which should be blamed on her musical director), and Butler never seemed at ease and in control of the show.

Still, she has a very nice vocal instrument which works best in the lower registers on tunes like "Heartache Here I Come", the bluesy "Black Coffee" and "Lullaby of Birdland." The song selection showed off her wide range as the varying styles of Vaughan's career, from trite pop tunes like "Make Yourself Comfortable" to the Bossa Nova period's "Boy from Ipanema" to the Gershwins' "Nice Work If You Can Get It." Songs sung in the higher keys didn't work for me ("My Funny Valentine" and "Brokenhearted Melody"). The musical breaks were a joy specifically the lovely light piano work of Rudi Mwongi, bassist Mario Suarci and saxophonist Leon Williams.

Vaughan was proficient at scatting, often improvising on ornamentation, phrasing and variation on melodies. She also used a technique called "note bending" or glissandi through her vocal range. Butler has the same effects in her singing and with time, her voice and style will also mature. Developing her own unique lyrical interpretations will help differentiate her from Vaughan and others who preceded her and help define the singer Susie Butler has the capability of becoming.

Steve Murray
Cabaret Scenes
March 27, 2007
www.cabaretscenes.org