Karen Mason
Let the Music Play!
(Zevely Records)
November 8, 2021
Reviewed by Alix Cohen
Karen Mason is an actress; her helluva voice rides tandem. You might subtitle Let the Music Play “Coming Out the Other Side.” Much of the material expresses struggling through to defiant optimism. The CD is as much a showcase for producer/musician/songwriter (and Mason’s husband) Paul Rolnick as it is for the artist. A remarkable group of top flight musicians accompany her.
“Let the Music Play” (David Friedman/Paul Rolnick) is rousing in delivery, hymn-like in spirit. Fling wide the doors, raise the windows, let the music play! might just as well be “storm the barricades!” It’s time. It’s over time. Mason’s voice fans out and flexes.
Two terrific arrangements offer a fresh approach to familiar songs. “On Broadway” begins on shadowy, wet, early-morning streets. “Broadway Baby” slips in with stealth, the arrangement still colored by its predecessor. This is an underbelly of New York, a song of survival, not the bouncy pop to which we’re accustomed. (Barry Mann/Cynthia Weil/Jerry Lieber/Mike Stoller; Stephen Sondheim)
A similar take occurs on “Steppin’ Out with My Baby” and “Tonight.” Sashaying in with a wink and a whirl, the song grows suddenly serious, expansive: “the big day may be tonight/Tonight, tonight, I’ll see my love tonight.” It’s engaging and theatrical (Irving Berlin; Stephen Sondheim). Mason is adept at storytelling even without text.
“Talking to the Moon” (Paul Rolnick/Jane R. Snyder) has universal appeal (Rolnick is good at this), but would be more impactful if it were less densely produced: “I know you’re sleeping ten thousand miles away/I don’t want to wake you before you start your day/So I’m talkin’ to the moon.” It’s a solitary voice in the night—”Until you return, I’m talkin’ to the moon”—and would land better if truer to that.
The anthemic, ’60s guitar-centric “Jerusalem” would also be more effective with less: “Crossing swords in senseless wars/When I know in my life that it’s peace we’re all praying for” (Paul Rolnick); perhaps only guitar and back-up would work. Pete Seeger would’ve liked this one.
Stephen Schwartz’s “For Good” (from Wicked) brings out the thoughtful communicator, with phrasing that hooks and holds our attention. When Mason changes octaves, there’s an affecting catch in her voice. “Mr. Monotony” (Irving Berlin) oozes onstage in a tipped hat executing Fosse moves. The vocal is long-lined with a touch of growl and wah-wah horn rising just a moment before tiptoeing out.
Softer choices thrive on less dense musicality. “He Touched Me” (Milton Schafer/Ira Levin) emerges as surprise, delight, hope, and passion (violins!) in a single brush stroke. “When You Wish Upon a Star” (Leigh Harline/Ned Washington) is wistful and airbrushed. A gentle, wind-chimed “In My Life” (John Lennon/Paul McCartney) finds Christopher Denny caressing his piano as Mason caresses memory. This one lingers.
Of the ballads, David Friedman’s “We Can Be Kind” has long been a favorite. Here, with the songwriter on lush piano, Mason’s sincere urging moves and disarms: “We can be kind/We can take care of each other/We can remember that deep down inside/We all need the same things.”Simply lovely and worth repeating.
The bonus track, Rolnick’s “We Never Ran Out of Love (We Just Ran Out of Time)” celebrates and mourns a great love. The unfortunately timely lyrics are eloquent. Mason gives this song its just due, conjuring images. Her authoritative voice and full emotional engagement shine through everything.
