Those who know Steven Pasquale from Denis Leary’s long-running TV show, Rescue Me, are used to seeing him as a dimwitted fire fighter with a heart of gold. So, although it was initially surprising to learn that Pasquale started out as a singer and Broadway performer, it makes sense in a world where performers are noted for their versatility.

Steven brings sweetness to Feinstein's that is utterly believable and sincere.  When he says his life is blessed, we tend to agree with him.  Ironically though, a charmed life does not always make one a compelling balladeer.  With his excellent voice and good range, he has the potential to really be special, but as of now he does not own his music and seems overly dependent on his CD’s (Somethin’ Like Love) producer and guitarist John Pizzarelli.  Mr. Pasquale turns to Mr. Pizzarelli often during the show, looking for support and thanking the maestro profusely, exclaiming how lucky he is to have gotten together with Pizzarelli, who beamed at him beneficently.  If one is to produce a new singer, one should protect him by making sure the songs are in the best keys (many of the night were too low) and adding interesting arrangements.  As it stood, Steven appeared to be tense and not entirely comfortable in his skin as a “Jazz Singer.”

This is not to say that there weren’t moments where he did shine, because there were.  Whether he opened up his voice in “In the Wee Small Hours of the Morning” or toned it down to a perfect soft high purr in “Summertime,” he proved that ,with sufficient rehearsal and some more edge, he could take his voice to the moon and out of his mind, transcending the bondage of a manipulated style that many aspiring jazz singers unfortunately fall into.  To sing jazz idiomatically one must phrase in a pointed, crisp way, without holding on too much to the vowels, but rather clipping consonants.  One does not need a great voice for jazz, but musical freedom and style are required.

Steve was at his best in “Maybe” (Annie) with his interpretation becoming more focused, showing that his chops lean more toward musical theater at this time, rather than jazz ballads.  This was Pasquale’s debut and he was undoubtedly nervous as he saw this as a very important night. Whatever the flaws, the evening flew by pleasantly—with some real insights this performer might be able to compel rather than just charm.

Melody Breyer-Grell
Cabaret Scenes
June 29, 2009
www.cabaretscenes.org