Ben Jones & Laurence Hobgood

Birdland, NYC, December 9, 2024

Reviewed by Jacqueline Parker

With a relaxed yet serious intensity rarely seen on a cabaret stage, Ben Jones delivered more than a dozen carefully selected songs to a highly appreciative audience. He was accompanied by noted composer, arranger, and jazz pianist Laurence Hobgood. This was an unusual act, devoid of the usual break-the-ice kind of patter. Introductions didn’t take place until well into the proceedings. It was as though Jones was developing a new formula for performing in a cabaret setting, and by my standards he succeeded.

Jones began with “Love Hurts” by Boudleaux Bryant and “Dust in the Wind” by Kerry Livgren.  Interspersed were the familiar “50 Ways to Leave Your Lover” (Paul Simon) and Billy Strayhorn’s ever-haunting “Lush Life.” During this portion Hobgood put his hand into the piano, seemingly depressing the piano strings to change the sound. This was very effective and an example of how different this performance was from anything else I had ever seen.

The next section led with one of Rodgers and Hammerstein’s most heartbreaking tunes about love lost, “This Nearly Was Mine,” which Jones delivered so convincingly that one could almost feel his pain. “Ballad of the Sad Young Men” by Tommy Wolf and Fran Landesman was highly reflective, and Jones enunciated every lyric so clearly and thoughtfully that the number carried the weight of a mini sermon.

The tempo picked up in the second half with “Feelin’ Alright” (Dave Mason). It was followed by an Adam Guettel gem from his show Myths and Hymns that never made it to the cast album, “Build a Bridge.” Jones was the perfect singer for this because Guettel’s music needs to sink into your psyche a bit rather than just please your ear.

Jones is a singer who also acts—most recently in the York Theatre production of A Twist of Fate (Ron Abel music/Lissa Levin lyrics). At times he reminded me of another great singer named Jones, specifically Jack. Midway in his career Jack Jones recorded an album called New Jack Swing, which was a departure from his usual crooning style. It made me yearn to hear Ben Jones in such a style.

This show provided a new and refreshing change of pace from the usual performance to which one has become accustomed. Jones had a style all his own, with an appearance and demeanor reminiscent of the classic 1940s movie hero—the strong silent type. This all came together to provide a novel approach to a cabaret act.