Steve Sieck: Temple of Soul

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Steve Sieck

Temple of Soul

The Gardenia, West Hollywood, CA, February 28, 2025

Reviewed by Mary Bogue

Steve Sieck
Photo by Craig Allyn Photography

Here’s this writer’s confession: when something is advertised as a soulful show, my expectations are set rather high for a joyful, deeply empathetic, and transformative journey of music. When Steve Sieck took the stage with three venerable musicians and two other vocalists, he put his backbone into it and mine slipped.

The Gardenia, known for presenting more subdued cabaret shows, might have needed some structural reinforcements after the roof was torn completely off as Sieck attacked it with his fiery opening number (and the title of his show), which he wrote, into the very “Temple of Soul.” The energy in the room was palpable; “everything was good!” and the night had only just begun. He followed that with another of his originals, “That Moment,” his “snapshot in time” with romantic lyrics that recalled his meeting his wife and which also showcased his supreme banter and storytelling. The room was filled with love, and everyone was in love with Sieck for all the right reasons.

He is a masterful lyricist, but he also expertly interpreted “Baby, I’m For Real” (Marvin Gaye/Anna Gordy Gaye), and gifted his enamored audience with a mellow groove on “All I Do” (Stevie Wonder). This masterfully performed show displayed his lovely phrasing, the killer piano groove of Quinn Johnson, the kick-ass bass of Hussain Jiffry, and the perfect rhythm on drums of Kevin Winard. All this was under the direction of Dori Amarilio, Sieck’s music director and a mesmerizing guitarist. Sieck also brought stellar vocalists Amy Keys and Jeff Robinson into play, and together with the band they provided a night of sheer magic. The band wasn’t just accompanying Sieck—they were partners in a journey of sonic bliss.

“Complaint Letters to God,” another Sieck tune, was delivered in true gospel style by powerhouse Amy Keys; she wowed everyone. Jeff Robinson followed with a crave-able and passionate performance of Sieck’s “I Still Want You.”

To bring it all together with a perfect ending, Sieck showcased his song for social change “We Will Find a Way.” This great tune left the elated audience in great spirits, feeling hopeful and joyful. While Sieck wrote “I’m Only Human,” but that premise is doubtful; this kind of genius rarely streaks across our universe. Find his album Crazy That Way on all the usual streaming platforms, and soon your love for his music will enter into your own emotional temple of soul. In a world where virtuosity seems rare, Steve Sieck and his Temple of Soul was a brilliant reminder that true artistry is still alive and thriving.

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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.