Nicolas King

Act One

March 18, 2021

Reviewed by Alix Cohen

Nicolas King has been performing since he was four and a half years old. His preternatural stage authority and vocal style made support by Godmother Liza Minnelli, whom he calls “Auntie Mame, friend and mentor,” and other show-biz luminaries proud rather than pushy. King may have had some doors opened, but he did the work and sustained even a Broadway performance himself.

Now 29, the artist presents a CD of recordings through the years, taking us back to appearances made at ages 13, 14, 17, 24—you get the idea. Even the first one exemplifies an understanding of swing that encourages belief in reincarnation, but one track would’ve been enough with which to compare then and now.

Listening to a child sing a jazz-tinted “God Bless the Child” robs it of gravity despite vocal skill. (Fine piano by Yvonne Monnett)

By 17, King’s voice begins to settle. Irving Berlin’s “How Deep Is the Ocean (How High Is the Sky)?,” with excellent bass accompaniment arranged by King himself, is flannel and cool. (Alan Bernstein on bass.) At 21, his rendition of “Can’t Take My Eyes Off You” (Bob Crewe/Bob Gaudio) epitomizes the insouciant feel of the era. It’s as if he had his hands in his pocket and one eyebrow raised. A year later, Tracy Stark’s “The Only One” begins with honky-tonk and then changes gears to up-tempo 1940s jitterbug. Rhythmic crosscurrents underscore King’s adroit sense of groove.

“My Shining Hour” (Harold Arlen/Johnny Mercer), bookended by “I’m So Glad We Had This Time Together” (Joe Hamilton for his wife Carol Burnett), arrives seven years later; it’s unhurried and has lovely diminuendo. Long-lined phrases drift down like lazy leaves. The piano ripples delicate sentiment. It’s pristine (arranged by Mike Renzi).

For my money, the CD’s highlight is a 2017 recording of “You Must Believe in Spring” (Michel Legrand/Jacques Demy). The palpable romantic musing is accompanied by a buttery piano. One wants to wrap oneself in this one.

Jimmy Van Heusen/Johnny Burke’s “But Beautiful” in duet with Jane Monheit and “What a Wonderful World” (Bob Thiele/George David Weiss) in duet with Norm Lewis are recent recordings. The first is country-club dance-ish. Both vocalists slip/slide notes with the best of them.

Collaboration is cozy. The second pairs two plaintive voices, with sweeping orchestra burying some of both singers’ subtlety. A bonus track of Alan Jay Lerner’s “Come Back to Me” is suave, clubby, and Brat Pack-ish. Oh how King would’ve fit in! I don’t believe the determination, but two-fisted vocal calibration scores a bull’s eye. 

One cannot say too much about Mike Renzi’s contribution to this compilation. The two artists have developed a musical kinship.