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Melissa ErricoBirdland
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![]() As mother of a pre-toddler, her opening song, "Walking Happy" (Sammy Cahn), becomes all about her baby, just about ready to toddle and excited about the prospect. Errico swings the tune with gentle joy, backed by a jazz-flavored quartet led by pianist, Andy Ezrin. Motherhood, in fact, pops up throughout her show. Judy Collin's "Since You've Asked," is effectively nuanced from a parental rather than lover's standpoint. Imagination pairs two traditional lullabies, "Hushabye" and "Tiny Sparrow," the latter that her own mother sang to Errico every night. "Hushabye" is dramatized by the subtext of a slave soothing the master's baby while her own child cries in the meadow. A pounding rhythm behind Errico empathizes the slave's impatience, waiting for the child to sleep so she can get to her crying baby. This bit of research bears the meticulous stamp of Errico's talented director, Mary Cleere Haran. With her ethereal soprano tone, Errico is more cerebral than overtly dramatic, examining the lyrics and the stories they tell. Outstanding proof is "The Summer Knows" (Legrand), and especially her encore, "Glocca Mora," (Lane, Harburg), sung a cappella with a slight brogue and palpable nostalgia. Her other theatre offerings include "If I Were a Bell" (Loesser) with a bass jazz fillip, and a loose-limbed "I've Grown Accustomed to His Face" (Lerner/Loewe). In "Something's Coming" (Bernstein/Sondheim), Errico is restless with expectation. The lineup of tunes scans moods and feelings from poignancy down to the earthy depths with Lieber and Stoller's "I'm A Woman." "So In Love" (Cole Porter) builds its drama carefully, rendering a clean arc of recognizing love and then realizing how enveloping the emotion is. With a voice of sheer beauty and acting insight, Melissa Errico is emotional artistry not to be missed. Melissa Errico is appearing at Birdland May 21 and May 28. Elizabeth Ahlfors |
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