Jonathan Karrant: An Evening with Jonathan Karrant

  • Post author:
  • Reading time:2 mins read

Jonathan Karrant

An Evening with Jonathan Karrant

The E-Spot Lounge, Studio City, CA, June 10, 2016

Reviewed by Mary Bogue for Cabaret Scenes

Photo: Maryann Lopinto
Photo: Maryann Lopinto

Jonathan Karrant is one of the rare crooners of cool, born to sing and swing with style — and that he did, better than ever.

He opened with a striking, up-tempo version of “Moondance” (Van Morrison), with unique phrasing on a swinging jazz arrangement. On keys with monster talent was Mahesh Balasooriya who absolutely set the tone for the show with more notes per second than humanly possible.
order sildenafil online https://medstaff.englewoodhealth.org/wp-content/languages/new/order/sildenafil.html no prescription

It takes a strong vocalist to stand up to this incendiary playing, and Karrant had the chops to regain his momentum after the solo, tagging with “I just want to make some moonlight with you.
order cipro online https://medstaff.englewoodhealth.org/wp-content/languages/new/order/cipro.html no prescription

”

On “No Moon at All” (Dave Mann/Redd Evans), he conveyed all of his natural charm, showcased his ability to scat, and John B. Williams on bass offered a warm solo.

order furosemide online https://medstaff.englewoodhealth.org/wp-content/languages/new/order/furosemide.html no prescription

Karrant was believable, enchanting and grounded with the lyrics on Jobim/de Oliveira’s “Dindi,” his voice more melodic than ever.

I’ve witnessed Karrant’s trajectory for a few years now, and I was thrilled to observe his now very polished, touching and mature storytelling of “Mr. Bojangles” (Jerry Jeff Walker). The audience, though light, was fully entranced. Adding to the mood was the “tap dancing” of drum sticks by Roy McCurdy. It was magical (both Williams and McCurdy are Living Legends of Jazz).

“Love for Sale” (Cole Porter) was swung with intensity, and it seemed to belong to the band more than the singer, leaving lyrics not the best served.

Contrary to it was Karrant’s brilliant, tender, and evocative “Imagine” (John Lennon), capturing the hearts of all with his unexpected choices and the shared exchange with Williams.

Annie Ross would’ve smiled broadly as Karrant absolutely nailed “Twisted” (Ross/Wardell Gray) and Balasooriya twisted a remarkable solo around his fingers. There were more thrilling moments in the show, but Karrant was never more connected as his eyes shined in “(I’m Afraid) The Masquerade Is Over” (Allie Wrubel/Herb Magidson).

It appears that his recent tutelage under both Marilyn Maye and Kurt Elling has made a huge impact. Find Karrant in New York City at all the usual places that swing and enjoy an evening of the real deal.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Mary Bogue

Mary Bogue’s journey into the world of jazz began in 1981 when she was accepted by the Monterey Jazz Festival to cover the event as a writer. It was there that jazz tenor saxophonist Buddy Tate introduced her to the legendary vocalist Helen Humes. Their interview, later published in Jazz Dispatch and distributed at the Playboy Jazz Festival, marked the beginning of Bogue’s deep connection to jazz and storytelling. One unforgettable moment came when Humes introduced her to Count Basie, saying, “Bill, this is my friend Mary. Mary, this is Bill.” That simple introduction sparked a lifelong love for jazz and a passion for writing. Among her early interviews was a conversation with the legendary Les McCann, a connection that would come full circle years later when McCann joined Bogue on her debut album, Don’t Go to Strangers, released in 2012. The album, celebrated with a launch party hosted by KJZZ, gained national airplay and recognition. Her follow-up albums, Blue Smoke and One Night of Sin, further solidified her place in the jazz world. In 2015, Bogue was honored as a Living Legend of Jazz and recognized by the Duke Ellington Society, the United States Congress, the State of California, and the City of Los Angeles. Her cabaret career took off at the iconic Gardenia in Hollywood and continued in New York at the Metropolitan Room. That same year, she joined Cabaret Scenes Magazine as a reviewer of both cabaret shows and CDs, continuing to champion jazz and cabaret through both performance and the written word. In addition to her accomplishments in music and journalism, Mary is also an accomplished visual artist. She has designed album covers and created a wide range of artwork, including oil paintings of blues singers and expressive watercolors. Her visual work, much like her music, reflects her deep passion for the soul and spirit of jazz and blues.