Alexis Cole with One For All
You’d Be So Nice to Come Home To
Reviewed by Alix Cohen for Cabaret Scenes
Alexis Cole is a born jazz baby. Facility for extending, kneading, clipping notes, and/or slip/sliding keys makes interpretation hip and fluid. Her voice is silvery. The performer brings sophistication to every number. She’s never carried away. Point of view often varies from the accustomed. Though I can’t wrap my ear around the tradition of those up-tempo ballads included, vocals are appealing, musicality superb.
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“I Will Wait for You” (Michel Legrand/Norman Gimbel/Jacques Demy) resembles incantation. It’s lilting, plaintive, and balladic.
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Eric Alexander’s tenor sax first actively shades, then meditates. “Cry Me a River” (Arthur Hamilton) offers elongated vocal phrasing.
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Cole sounds more irritated than despairing.
Jim Rotundi’s trumpet and Steve Davis’ trombone seem to chide. The door is clearly closed on the guy, whoever he is.
Donald Kahn/Stanley Styne’s “A Beautiful Friendship” is an ironic musical sigh. The singer is unsurprised and, curiously, doesn’t sound happy about what seems like desired evolution: “…the end of a beautiful friendship/And just the beginning of love….” Rotundi’s muted horn is like salve.
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“All the Things You Are” (Jerome Kern/Oscar Hammerstein II) is breezy and bright. Arced and sliding notes arrive playful/dancey. Davis’ trombone veritably frolics.
“You’ve Changed” (Bill Carey/Carl Fischer) is slow, wistful, evocative. Cole holds onto the word “changed” as if she can’t accept what’s occurred. Rotundi’s trumpet is eloquently mournful.
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Cole Porter’s “You’d Be So Nice to Come Home To” begins with seductive, Marilyn Monroe tone, then segues to up-tempo rhythm as if tickled.
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Horns bolster without interfering. Attitude is lighthearted. Each lyric passage emerges as if trying a vision on for size.
