Don Most

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Don Most

The E Spot Lounge, Studio City, CA, May 10, 2016

Reviewed by Mary Bogue for Cabaret Scenes

Don-Most-Cabaret-Scenes-Magazine_212We could have been in the Copa Room at the Sands as Don Most came out swinging in every sense of the word. Entering from the house in a classic sharkskin-grey suit to a terrific arrangement of “Luck Be a Lady” (Frank Loesser), Most laid out as his 17-piece big band tore it up,  and immediately killed that big money note ending.

 

It was all “Blue Skies” (Irving Berlin) with his velvet tone, uptempo, key changes, and in-your-face driving horns. Swinging on, this ambitious show of 19 songs showcased new material from his upcoming CD. Musical Director and arranger Willie Murillo would’ve made Count Basie proud with “Everyday I Have the Blues,” (Pinetop and Milton Sparks) as Most nailed it to the roof.

In classic landmark Sinatra style, Most vamped his way into the iconic “I’ve Got You Under My Skin” (Cole Porter), delivered it with an uncanny Sinatra-like voice and a tender interpretation.
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His well-paced show spotlighted his perfect ability to convey ballads, like “I Can’t Get Started” with Quinn Johnson on piano, Charlie Peterson on trumpet and Lyman Maderios on bass.

In counterpoint, the audience flipped over “Sent for You Yesterday and Here You Come Today” (Count Basie/Jimmy Rushing/Eddie Durham) as Donny set free the happy, energetic blues.

Joining Most in “C’est si bon” (Henri Betti/André Hornez/Jerry Seelen), Becky Martin was sweet and playful.
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Back to serious swingin’, Willie Murillo and Most shared vocals with four pieces from the band, pleasing the crowd with “Hit That Jive Jack” (Johnny Alston/Campbell “Skeets” Tolbert).

There was plenty more to love as Most shared his boyhood discovery of Bobby Darrin and Dean Martin, before his television career on Happy Days. His acting chops came in handy on the ballads and he made smart choices on his Latin take on “Let’s Fall in Love” (Harold Arlen/Ted Koehler). I’m pretty sure his upcoming CD will give us plenty of happy nights, perfect for any cool cocktail parties serving Jack Daniels, with water and three ice cubes, à la Sinatra.

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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.