Ben Jones

I Think I’m in Love

Chelsea Tables + Stage, NYC, January 5, 2023

Reviewed by Bart Greenberg

A program of love songs, mostly well-known and mostly often performed, doesn’t promise much excitement. But with taste, intelligence, and the golden voice of Ben Jones, fireworks were definitely provided. Beyond his voice—and the good looks—he possesses a great deal of charm and a wicked sense of humor, and he brought clarity to his performance. His connection to his audience was palpable, and they happily went along with him as he told his history of romantic relationships. He cleverly tied these memories into his material, ranging from the saloon standard “In the Wee Small Hours of the Morning” to the high energy “Come Back to Me,” and to Jason Robert Brown’s “She Cries,” which tied in with Jones’ very funny tale of showmances that happened during his appearance in The Last 5 Years.

His intelligence was revealed in the way he combined songs. A segment of songs about taking a risk was enriched by their combination as each one expanded on the idea of impulse and increased recognition of individuals flaws. “Kiss Her Now” (Jerry Herman) was a thing of beauty endowed with a quiet urgency; “What Am I Doin’?” (Richard Maltby/David Shire) expanded on that urgency while offering regrets of a more rational mind from a future perspective—with a clear delineation of character and time. “What Kind of Fool Am I?” (Leslie Bricusse/Anthony Newley) had a total lack of passion but was full of regret (and happily was not a Newley imitation).

The show wasn’t flawless. Too many of the musical arrangements built in the same way, designed to show off Jones’ high register. Impressive it is, but the reliance on it for theatrical purpose proved less effective with repetition. Sometimes less is indeed dramatically more. The other issue was his habit of practically kissing the microphone. He has far too much power in his voice to need the intense magnifying that tended to muffle and dehumanize his voice. It was noticeable that, when he embarked on a beautiful medley of “Not a Day Goes By” and “Johanna,” he placed the microphone on its stand and took a step back, opening up his sound and letting his emotions expand. It was a golden moment.

Instrumental support was provided by music director Ron Abel on piano, Lauren Hendrix on bass, and Aaron Latos on drums. All added immensely to the evening, but it was Jones who was in command throughout. Other highlights included Laurence O’Keefe’s hysterical “Sensitive Song” beautifully paired with “I Wanna Be Around,” and an emotional delivery of “I’ve Grown Accustomed to Her Face” blended with “Gigi” in honor of his eight-year-old daughter. Despite certain reservations, this was an excellent evening of song.