Robert H. Fowler & Tanya Holt

Can We?

The Green Room 42, NYC, October 20, 2018

Reviewed by Alix Cohen for Cabaret Scenes

Multi-award-winning Tanya Holt is less apparent on the cabaret/R & B scene these days, but delivers no less solid a performance than recollected. Stage presence, vocal control, and smooth, riffing delivery remain hallmarks. Robert H. Fowler’s background is on Broadway and in concert venues. His slip/sliding tenor and bearing are playful. Most of tonight’s numbers come from their recent CD (which is, as I write, climbing the charts in the UK) and were written by Dwayne C. Palmer.

The show opens with an intertwined medley of “Ain’t Nothing Like the Real Thing Baby” (Nickolas Ashford/Valerie Simpson), “You Don’t Have to Be a Star” (John Glover/James Dean), and “You’re All I Need to Get By” (Ashford & Simpson). Phrasing is kneaded and massaged. Holt’s voice is soft-edged, but sure; Fowler’s is brighter with a dash of grit. The two bounce off one another with skill.

The title song of the CD, also a duet, is, like most of Palmer’s work, loosely constructed. Holt and Fowler add personality and counter-rhythm. We’re told in brief, clearly unrehearsed patter that these will be relationship songs.

“How Do You Feel?” (Palmer) describes someone looking back at an ended romance, searching for clarity. Holt makes the sentiment credible. Vocal shifts are such that we’re barely conscious of her taking a breath. “If it’s the end, please let me know/I’ll be on my way” she sings ending with a hum. Where the previous number strives toward lyricism, “Truth Is” (Palmer) arrives in start/stop rhythm with sharp turns at corners.
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Fowler leans in, bounces, extends his left hand as if grappling with the subject. Thoughts don’t quite fit music. Backup singers (Kiki Hawkins, Asa Lovechild, Darius Booker) add appealing texture.

Lionel Richie’s “Endless Love” spotlights the difference between these two voices. The arrangement features deep swings, slow steps, a bit of warm scat. Two welcome ballads are Fowler’s “I Can Let Go Now” (Michael McDonald), with evocative accompaniment by guitarist Sean Harkness, and “Somewhere” (Palmer), another duet. The latter emerges in shades of Motown.
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Holt’s “Shine” (see YouTube video) overflows with encouragement, to self and otherwise. Her super voice sails high and wide, but not unchecked. “Help Is on the Way” (Palmer/David A. Shenton) sounds appealingly like gospel. Its lyrics sync well, and tune is more accessible than most of this writer’s work.

The lyrics we’re able to hear often seem awkward as well as secondary to rhythm and overall impact. Much of this feels like dance music (observation, not criticism)—one taps, bobs, and sways. It’s clear where Palmer got his inspiration with similarities perhaps a bit too obvious as yet.
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With Anthony Robustelli (piano), Dave Inniss (bass), Blake Hepburn (drums), and Sean Harkness (guitar).