Aisha de Haas
Memory Lane
Birdland, NYC, December 12, 2020
Presented by Radio Free Birdland in Association with Broadway World.com
Reviewed by Alix Cohen
In collaboration with Billy Stritch (MD/Piano/Vocals), Aisha de Haas tonight offers a miscellany of numbers with personal meaning. “Smooth Sailing” (Arnett Cobb) creates the lyric out of round-edged scat. The song is a tribute to Andy & the Bey Sisters- Andy, Geraldine (de Haas) and Salome Bey, Aisha’s uncle, mother and aunt respectively. Having been a self-declared “bebop baby” has made her melodic and fluent. She recalls her father’s Sony music system and AM jazz stations.
“On the Street Where You Live” (Frederick Lowe/Alan Jay Lerner) arrives chord-centric and up tempo. It’s difficult to find romance within choices of rhythm and forcefulness, but happy comes through loud and clear. The same is true of “You’re Gonna Hear from Me” (André Previn/Dory Previn) whose waltzy treatment deprives the song of unfettered exuberance.
The King and I (Richard Rodgers/Oscar Hammerstein) is one of de Haas’ favorite musicals. From it we hear “Getting to Know You.” The piano bounces, skips, and twirls; the lyric slides, de Haas sways. “Something Wonderful” follows—quiet, serious, and in character. (Intermittent stressed lyrics distract from the mood.) We then change tracks to nostalgic pop choices beginning with “This Guy’s in Love with You” (Burt Bacharach/Hal David) performed in duet with Stritch. His warm, cottony vocal creates an appealing harmony for the mid-tempo ballad. Sentiment is apparent.
“I Live for Your Love” (Pam Reswick/Alan Rich/Steve Werfel) enters relaxed and sincere. The lyric musically arcs for each chorus: “I live for your love (everyday)/every minute I live for your love (in my life)/ want you in it.” The song leads directly into a duet of “How Do You Keep the Music Playing?” (Michel Legrand/Alan & Marilyn Bergman). It’s ardent and longlined. De Haas and Stritch sing to one another adding immeasurably to the effect. Also in duet, “Where Is the Love?” (Ralph MacDonald/William Salter) manages to be both cozy and sophisticated.
“A few years ago, I was asked to join a tribute to the wonderful Barbara Cook. This is the arrangement I sang by Wally Harper,” de Haas tells us launching into “Ac-Cent-Tchu-Ate the Positive” (Harold Arlen/Johnny Mercer). Both arrangement and performance are terrific— sass with a side of spirituality. “Willow Weep for Me” (Ann Ronell), also in tribute to Andy & The Bey Sisters, is a second highlight. Notes stretch, bend, and undulate in a nuanced sequence of a strong entrance, lyric retreat, and vibrato. Stritch’s hip, swinging piano is just right.
A mixed bag by two talented performers whose enjoyment of one another’s company is palpable.
