Amber Weekes: Round Midnight Re-Imagined

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Amber Weekes

Round Midnight Re-Imagined

(Amber Inn Records)

April 22, 2021

Reviewed by Alix Cohen

Amber Weekes has the kind of sumptuous voice that adds so much to the material that she’s more than half-way home before employing phrasing, inflection, enunciation, and emotion. The CD opens almost casually with Oscar Brown, Jr.’s “Hazel’s Hips.” Weekes is wry and seductive, setting just the right tone—observing, admiring, but not intimidated.

“Summer Samba” (Marcos Valle/Paulo Sérgio Valle/Norman Gimbel) sways with an appealingly gauzy arrangement featuring Mark Gargill’s cool violin and Louis Van Taylor’s graceful alto flute. Weekes’ vocal is warm and ripe. “Christo Redentor”/“I Want Jesus to Walk with Me” (Duke Pearson; lyrics of a Negro spiritual arranged by Louis Van Taylor) conjures a solemn New Orleans “march.” Lyrics arrive with soft edges, yet not insubstantial. The singer’s long note is hypnotic. Phil Upchurch’s soulful guitar adds immeasurably.

The tandem “Sistermoon”/“Summertime” (Sting; George Gershwin/Ira Gershwin/Dubose and Dorothy Heyward) spotlight back-end vibrato and flannel low notes. The lyrics wax and wane, aptly languid. I miss yearning. “Don’t You Feel My Leg” (Lou Barker/JM Williams & Danny Barker) returns to the flirty backroom mode of “Hazel,” at which Weekes excels. Phrases say “no,” but at the same time purr. The instrumental is twangy burlesque.

With Billy Barnes’ sophisticated “Something Cool” she also delivers a two-sided message— melancholy but also inviting. “Aw-ful-ly nice,” she croons all honey and eyelashes.
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“I’m terribly faa from home.” The bar has a muted glow. “One for My Baby” (and One More for the Road”) (Harold Arlen/Johnny Mercer) follows immediately, smooth as good gin. Octaves slip/slide. “The Man That Got Away” (Arlen/Ira Gershwin) is plaintive while restrained. I miss a more palpably wounded sound, of which Weekes is clearly capable.

Both the classic “My Romance” (Richard Rodgers/Lorenz Hart) and a bouncy ’90s sounding “Lovers” (Natalie Cole/Chuck Jackson/Marvin Yancy) are, to my mind, cheapened by the use of a synthesizer which creates the feeling of ice-rink music.

The title song, “’Round Midnight” (Thelonious Monk/Bernie Hanighen) lifts off and circles back rich and savory. “More Than You Know” (Vincent Youmans/Billy Rose/Edward Eliscu) is a pliant offering. The phrasing is very much Weekes’ own; Eddy Olivier’s piano is just beautiful.

A grand listen.

Danny Grissett (piano), Trevor Ware (bass), Sherman Ferguson (drums), Louis Van Taylor (alto sax). Hand Claps are provided by Trevor Ware, Sherman Ferguson, Danny Grissett, Peter C. Ross. Additional musicians for ’Round Midnight Re-Imagined include Greg Cook (guitar) and Eddy Oliver (piano). Atmospheric sound design is by Mark Cargill plus others.

Alix Cohen

Alix Cohen’s writing began with poetry, segued into lyrics then took a commercial detour. She now authors pieces about culture/the arts, including reviews and features. A diehard proponent of cabaret, she’s also a theater aficionado, a voting member of Drama Desk, The Drama League and of The NY Press Club in addition to MAC. Currently, Alix writes for Cabaret Scenes, Theater Pizzazz and Woman Around Town. Additional pieces have been published by The New York Post, The National Observer’s Playground Magazine, Pasadena Magazine and Times Square Chronicles. Alix is the recipient of six New York Press Club Awards.