Hilary Kole
Birdland, NYC, June 7, 2025
Reviewed by Alix Cohen
Photo by Bill Westmoreland
Hilary Kole greeted her packed audience with a breezy “Almost Like Being in Love” (Alan Jay Lerner/Frederick Loewe). She was infectiously unable to be still, yet she was always a lady; her hips and shoulders subtly reflected exuberance. One hand fingered the microphone as though it was a brass instrument. Kole played with the tune, never losing the melody. Paul Gill frowned as he concentraed on his bowed bass.
“Let’s Face the Music and Dance” (Irving Berlin) emerged as a Rainbow-Room cha-cha with long-lined delivery. “Ro-ma-ah-ance” the artist sang with pristine control. Her signature scat poured out headlong; she could give lessons. Caelen Cardello’s piano was sultry; in his first time working with Kole, the young man, showed range and finesse. “The Summer Knows” (Michel Legrand/Alan & Marilyn Bergman) flowed like molasses. The piano evoked light rain, and Aaron Kimmel’s swishing cymbals were painterly.
Music coursed through the vocalist, her eyes closed, her head shifted and turned, and her right hand often conducted. “Haunted Heart” (Arthur Schwartz/Howard Dietz) was the title track from Kole’s first album (2009). “Everything old is new again,” she commented. It was sway music, the piano rippled. “Be still my haunted heart” arrived in a near stage whisper.
To my mind, the highlight of the evening was a duet with Australian Adrian Galante, described by Kole as an “arranger/composer/musician/vocalist.” Their rendition of “So in Love” (Cole Porter), requested by club owner Gianni Valente, was mellow and lush in an especially fine arrangement. Galente’s eyebrows rose and fell as he masterfully embroidered on the melody. The musicianship was sinewy and terrific. Kole eschewed scat for affecting heart. The two should perform together more often. (On June 21 at 5:30, Galente will perform at Birdland with his own trio.)
Alec Wilder’s waltzy “While We’re Young” exuded warmth; the lyrics unfurled like satin ribbons. “I Only Have Eyes for You” (Harry Warren/Al Dubin) provided a swinging exit and gave Kimmel an opportunity to strut his stuff. Kole offered a sample of what can be expected when she sings with the Birdland Big Band starting this Fall. Only “Lush Life” failed to live up to its melancholy candor; it was more musically than lyrically aware.
