The Song in You and You in the Song:
Steve Ross’s Master Class
February 21, 2018
By Alix Cohen for Cabaret Scenes
“Like Fred Astaire…Steve Ross is a songwriter’s singer. Lyrics arrive unobscured with heart, finesse, comprehension, and a lifetime of experience. If you want to really hear a song, listen to a Ross version.” (From my last review of the performer.)
Ross recently began making his expertise locally available to those with some knowledge of singing who can carry a tune and want to explore/enhance material. Six participants at a time gather for an intimate, three-hour American Songbook workshop at his apartment. “I’d rather listen to the lyrics of these songs than read The New Testament—there’s more here.” Each person submits two numbers in advance, at least one is performed—both, if time allows. For some, the opportunity to sing in front of an audience is important. Those gathered are encouraged to applaud. Ross is, of course, at the piano.
I asked the maestro how his sessions differ from others offered. Barbara (Cook), he tells me, would take kids from music schools, whereas his students (of all ages) can be former or current professionals, young aspirants, or amateurs realizing long-held dreams. “I’m an older guy now and I know how much these dreams mean.” Marilyn Maye’s large, comprehensive class addresses actual singing as well as physical direction. Ross’ focus is a vocalist’s connection to the lyrics. There’s no elongate that note or open your arms at that point.
I audited with great curiosity. These are excerpts from individual work sessions. All comments in quotes are by Steve Ross.
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Today’s group consists of a high school English teacher, two former professional entertainers, a retired diplomat and chorus member, a saxophone player from a 1920s-40s jazz group, and a woman trained in opera who came to cabaret after she experienced—through Ross—“how deep these songs are.”
The first singer (these are not in the order above) brought Rodgers & Hart’s “Nobody’s Heart”: “Nobody’s heart belongs to me/Heigh-ho, who cares?/Nobody writes his songs to me….” Ross shares a bit of Hart’s history, illuminating signature frustration and depression.
The student reads lyrics aloud, not in rhythm, but as one might speak; “…to me,” Ross directs, “as if I’m a composer who might write the melody… Can you give us a couple of emotions the singer might be feeling?… Is this a profound love affair or has he never been in love?
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… Does he find a way to cope with life?… Try to speak the words silently, mime… Let’s sing it again with the thousands of things you learned…Wait,” Ross says, “I just heard this differently. It seems to me…”
Noël Coward’s “Matelot” was written in two days for his lover, Graham Payne. This singer has a sense of drama. “What are the key words here, the qualifiers?… Try it very slowly, as if writing a letter, considering each phrase (this is telling). Does the sailor have a choice, is he called?… Is he running from love or does he long for it?… Try it very quickly as if he’s going up the gangplank. This adds pathos. Let’s take it again in a minor key.”
“But Beautiful” (Jimmy Van Heusen/Johnny Burke) is delivered with lovely phrasing by a former professional. Ross tells us Julie Wilson could break our hearts with these short phrases. The singer reads, in this case acts. “…To whom is she talking, is she giving advice, writing in a journal? …It’s a heartache either way is news… She’s come to an evolved realization… Sing it again. It’s tender and buoyant.”
Number four sings Tom Jones/Harvey Schmidt’s lilting “Try to Remember.” “What drew you to this song?” The performer is vocally tentative, but brings a lifetime of feeling. “Let’s do the writer/composer exercise… The lyric says, follow; follow that?… To whom might he be singing?… Try it really fast and see what happens…. A lot of songs have a little bit of build.”
The opera-trained singer offers a torchy “Can’t Help Lovin’ Dat Man.” (Jerome Kern/Oscar Hammerstein II). Yearning fills the room. “What’s the song about?… Does this woman feel helpless? …Do you think she’s been with him a while or is this new?… She realizes he’s often not good to her, so she has to keep telling herself…Read it aloud. Now…” The gifted student is palpably emotional. Dialogue finds her unconditionally committed.
A second former professional presents “That Face” (Lew Spence/Alan Bergman). She and Ross take a few minutes to alter keys, all of which are seamlessly integrated at the end. The song is directed not to a lover, but to sons in whom she exults. Lines including “You must forgive the way I stare” and “the way that it makes me happy” are explored. Exercises follow. “You have a story to tell us.” The last rendition gains lyricism and tenderness.
We have time for each performer to sing his/her second song without critique, then everyone joins in the irrepressible “I Can’t Give You Anything but Love.
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” Almost every participant sings his/her second version immeasurably better.
People linger and leave in groups, enthusiastically talking. The session is fun, supportive, and edifying.
It’s astonishing what can be achieved in such a short time. Atmosphere, as billed, is, in fact, “relaxed and collaborative.”
Arrangements/reservations are handled by Dena Kaufman: denakaufman7@gmail.com
