Dianne Fraser: You and I: The Words and Music of Leslie Bricusse

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Dianne Fraser

You and I: The Words and Music of Leslie Bricusse

Catalina Jazz Club, Los Angeles, CA, November 15, 2023

Reviewed by Mary Bogue

Dianne Fraser

Neophyte Dianne Fraser enthusiastically took the stage at Catalina Jazz Club to explore and educate us about the much-loved songs of Leslie Bricusse. Educate, she did, and she also shared amusing personal anecdotes about her experience with the songs.

A force to be dealt with, Fraser was in good form, very well-rehearsed, and strong of voice, so that all the lyrics could be understood. Though she was quite capable of hitting the higher notes, she was strongest when she was in her more comfortable middle register.

Todd Schroeder–pianist, musical director, and arranger–skillfully led the band, beginning with an up-tempo overture. Fraser opened with “At the Crossroads” (Bricusse), a soft and tender ballad and then moved into his “After Today,” in which the tempo changed to moderate swing. Along with the vocal numbers she told many stories about Bricusse. Fraser seemed stiff in her interpretation of “Pure Imagination,” and though vocally robust, more emotional connection would have better served the song.

As she warmed up, Fraser’s very spirited, ten-out-of-ten vocal delivery of “Feeling Good” did not allow her to slowly build her way through the song. A quieter, more insightful approach might have been considered when she offered “Crazy World” (music by Henry Mancini, lyric by Bricusse) in a mash-up with “If I Ruled the World” (music by Cyril Ornadel, lyric by Bricusse).

Then there was a wonderful breakthrough. Fraser’s light shined its brightest with her “French twist,” as she sang “Le Jazz Hot” (Mancini/Bricusse) in French. She became playful, changed chords easily, donned a top hat, and strutted her stuff It was her most organic performance of the evening, and the audience showed their approval with cheers and applause.

Damon Kirsche joined her on stge. He was masterful and believable with his lyrics on their duet, “Look at That Face” (Bricusse/Anthony Newley) which moved into “Something In Your Smile (Bricusse).

Another compilation of two songs—“This Is the Moment,” (music by Frank Wildhorn, lyrics by Bricusse) and “Once in a Lifetime” (Bricusse/Newley)—became an outstanding showpiece. Fraser’s performance was engaging and fully invested. (It would have served wonderfully as her opening number or as her next-to-last song.) Her exuberance and joy were tangible.

She sang to the back of the house on “You and I” (Bricusse). The soft introduction was welcome, though it would have been nice to see Fraser connect with her nearest audience members. She concluded the evening with a sincere and sweet dedication to her husband with “Two for the Road” (Mancini/Bricusse). Adam Cohen on bass played warm notes and Fraser’s sister, drummer Denise Fraser, contributed enthusiastically to the hour-plus show.

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Mary Bogue

Mary Bogue’s journey into the world of jazz began in 1981 when she was accepted by the Monterey Jazz Festival to cover the event as a writer. It was there that jazz tenor saxophonist Buddy Tate introduced her to the legendary vocalist Helen Humes. Their interview, later published in Jazz Dispatch and distributed at the Playboy Jazz Festival, marked the beginning of Bogue’s deep connection to jazz and storytelling. One unforgettable moment came when Humes introduced her to Count Basie, saying, “Bill, this is my friend Mary. Mary, this is Bill.” That simple introduction sparked a lifelong love for jazz and a passion for writing. Among her early interviews was a conversation with the legendary Les McCann, a connection that would come full circle years later when McCann joined Bogue on her debut album, Don’t Go to Strangers, released in 2012. The album, celebrated with a launch party hosted by KJZZ, gained national airplay and recognition. Her follow-up albums, Blue Smoke and One Night of Sin, further solidified her place in the jazz world. In 2015, Bogue was honored as a Living Legend of Jazz and recognized by the Duke Ellington Society, the United States Congress, the State of California, and the City of Los Angeles. Her cabaret career took off at the iconic Gardenia in Hollywood and continued in New York at the Metropolitan Room. That same year, she joined Cabaret Scenes Magazine as a reviewer of both cabaret shows and CDs, continuing to champion jazz and cabaret through both performance and the written word. In addition to her accomplishments in music and journalism, Mary is also an accomplished visual artist. She has designed album covers and created a wide range of artwork, including oil paintings of blues singers and expressive watercolors. Her visual work, much like her music, reflects her deep passion for the soul and spirit of jazz and blues.