Allan Harris
A Tale of Two Kings
Dizzy’s Club, NYC, July 9, 2019
Reviewed by Bart Greenberg for Cabaret Scenes
Essentially two shows in a generous one, in A Tale of Two Kings the multi-faceted jazz artist Allan Harris saluted “the genius of Eddie Jefferson” and “the elegance of Nat King Cole” at Dizzy’s Club, the room with unquestionably the best view in the city. The singer’s abundant charm, wit, and musicality were on full display, whether offering up hot vocal riffs as a tribute to Jefferson, the father of jazz vocalese, or sliding through standards à la the smooth jazz balladeering of Cole. Harris is as much a joy to watch as he is to listen to as the music seemingly inhabits his body. His fingers shoot out and wiggle in rhythm, seeming to coax his colleagues into joining in the fun; his shoulders rise and fall as emotion cries out; his feet break into dance steps as an experiment; and his mouth slides into a mischievous smile.
At every turn, harris’ enthusiasm and invention were echoed in the trio that backed him and blended in with him. Music director Shirazette Tinnin, an extraordinary percussionist, seemed to levitate each time she took the lead.
The very handsome Nimrod Speakes made his bass dance and strut each time he took the solo. And the intense Arcoiris Sandoval on piano provided beautiful ornamentation to the quiet ballad moments, at once elegant and emotional.
Within the first half, the Jefferson part of the show, “So What” (Miles Davis) was a fireworks-like explosion, while “Jeanine” (Eddie Jefferson) slowed things down to a loose, almost improvisational feel. Harris’ own work, “Miami Blues,” was much in the same vein, with its tribute to an exotic woman being sensual without going overboard, as he stroked his guitar and purred that there is “cream in that tea.”
In the second half, Cole’s passion for the Great American Songbook was in evidence as Harris’ body language slowed down and became more formal. His crooning on such sweet songs as “I Remember You” were sentimental to just the right degree.
Tying in with the style of the earlier numbers, “Fly Me to the Moon” was given a hard-driving arrangement, while “Walking My Baby Back Home” was swung with a nifty bass solo. Combined, all these elements made for a most satisfying evening of music and joy.
