Jeff Harnar

Jeff Harnar Sings Sammy Cahn—The Second Time Around

54 Below, NYC, July 26, 2024

Reviewed by Alix Cohen

Had Jeff Harnar come up during in the 1940s and 1950s, he would’ve been a boy singer with Benny Goodman’s or Tommy Dorsey’s orchestra, appeared at The Paramount, made radio appearances, played sophisticated nightclubs, and recorded on vinyl. Fan clubs would’ve formed. Harnar personifies the golden age of the American Songbook by respecting and appreciating the lyrics and keeping creative arrangements true to the songwriter’s intention. Long may he thrive.

Twenty-five years ago, Harnar and MD/pianist Alex Rybeck’s Sammy Cahn salute was recorded for Jerome Records, which suddenly and prematurely shut its doors. That version has been rearranged (for a new CD) with new tracks, several duets, and some pronoun changes.

Sammy Cahn (1913-1993) neé Samuel Cohen (no relation) put more words into the mouth of Frank Sinatra than any other lyricist. In addition to hit-parade songs, he wrote for films and musicals and garnered 26 Academy Award nominations, four Oscars, and an Emmy.

Harnar began off stage with “All the Way” (music by Jimmy Van Heusen) as a Rainbow Room foxtrot. Marc Phaneuf’s sax added sheen. These were not just words; the vocalist was earnest. On “Teach Me Tonight” (music by Gene de Paul)—“do-do-ten-do-do-do”—he sang flirtingly. His eyebrows rose and fell. Every “teach me” landed differently to evoke hope, request, or suggestion. Steve Doyle’s resonant bass winked, and Rybeck provided harmony.

“The Second Time Around” was performed reflectingly, with remembered and elicited complicity. “It makes you think, perhaps” (he nodded) “that love like youth” (a wistful smile hovered) “is wasted on the young.” (music: Van Heusen) “I Fall in Love Too Easily” (Cahn/Jule Styne) emerged slowly, like an admission. The hushed tune built with sax, then bass, then piano. Brushed cymbals (Ray Marchica, who later excelled on the bongos) evoked rustling leaves. With furrowed brow, Harnar sighed. This 1944 song hasn’t aged.

Guest Eric Comstock, co-creator and star of the long running My Sinatra, duetted with Harnar on a medley of “Come Dance With Me” and “I Like to Lead When I Dance.” (music by Van Heusen). Animated, Comstock danced around his friend (since college) and conducted the air. Their voices blended. The jaunty number arrived by way of dapper, first-rate vocalists having an infectiously good time.

“I’ll Only Miss Him When I Think of Him” (in 2017, the vocalist sang “her”) and “Call Me Irresponsible” (music for both by Van Heusen) were interpreted as cha-chas. The rhythm caused chair dancing. Harnar’s heart was in his throat. An appealing World War II medley (music by Styne) was bathed in nostalgia for an era that preceded the artist. We all sang the last verse of “It’s Been a Long, Long Time” (music by Styne).

Guest Sally Mayes duetted with Harnar on “Come Fly with Me” (music by Van Heusen). The performers, also old friends, the performers symbiotically swung. Mayes urbanely scatted up a storm. The lyrics skipped and twirled. Harnar looked at her not just appreciatively but proudly. Even the band was grinning. The performance was musically accomplished, the outlook carefree, and the experience fun.

Still wrapped in high spirits, we were treated—like a cherry on top—to an inspired arrangement of “Bei mir bist du schön” (music by Shalom Secunda)  in English, Yiddish and, wait for it—Swahili, the native language of MOIPEI. The triplets showed personality ans polish, as well as virtuoso skill with harmony. The collaboration between Harnar and the trio was euphoric; more of this please.

“As much as I loved this song at 40, tomorrow I’ll be 65, and it means so much more” introduced “Time After Time” (music by Styne). The piano rippled like a quiet brook, the flute touched the melody like light. Harnar’s tender phrasing was very much his own.

Tonight’s musicianship was superb. As always, Rybeck’s multifaceted contributions were priceless. Barry Kleinbort directed. The show provided a substantial taste of the wonderful Cahn along with selective anecdotes, the joy of presentation, and Harnar’s unequivocal talent.

Caveats: Two songs from the musical Sykscraper (music by Van Heusen) don’t weigh in with the quality of other selections and, aside from a song updated to the 1950s, Harnar’s falsetto sounded out of place.