Nicole Henry

A Time to Love Again

Feinstein’s/54 Below, NYC, March 19, 2022

Reviewed by Ron Forman

The very beautiful Nicole Henry is one of today’s very best jazz vocalists. As I saw her in her show at Feinstein’s/54 Below to introduce her latest recording A Time to Love Again, it was difficult to decide which was more enjoyable, watching her move across the stage or listening to her great vocals. After the two-year pandemic, the title of the show and the CD was most appropriate. It is indeed a time to love,and Henry carefully chose an eclectic mix of songs old and new to celebrate the many aspects of love.

She has a powerful voice that never strains when she’s hitting the high notes or holding them at the end of a number. Each song she sings is uniquely done. She was elegantly dressed in a green gown, which made it was virtually impossible to keep your eyes off of her as she continuously moved across the stage.
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Her of-the-cuff funny stories philosophizing about love and her always eye-catching arm movements added much to the show. She was backed by a wonderful jazz quartet—El’e Howell (drums), Avi Rothbard (guitar), Anthony Wonsey (piano), and Obasi (bass)—each of whom was given the opportunity to perform solos in this very entertaining 90-minute show.

She began the show by singing “Feeling Good” off stage and, when she entered, her contagious big smile made me think she really was feeling good; then the way she held the final note on the word “good”convinced me. This was followed by a jazzy “Almost Like Being in Love.
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” A funny story about her being on a beach preceded her singing “Midnight at the Oasis.” Her performance of “Is It a Crime” included a haunting solo turn by Obasi. A very nicely done “I Didn’t Know What Time It Was” included lengthy, applause-producing solos by each of the musicians. Her movement was really groovy when she sang Stevie Wonder’s “Overjoyed,” which preceded a sultry, very sexy “Wild Is the Wind.” She displayed her ability to do a soft ballad with “Until It’s Time for You to Go.” Henry closed with a distinctive arrangement of “That’s All,” which began slowly and softly and then built to a big climax.