Livers the goods with as much stage preseNCe as skill. Trombonist Clark Gayton's staccato bursts and husky tones create rhythmic intricacy and churning riffs one doesn't expect from a trombone. He has real flair for a kind of burlesque funk emerging later in the program. Carlton Holmes (piano) creates clean, inventive, off-the-beat embellishment without Ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie BEverly) is achingly evocative.Piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.Livers the goods with as much stage presence as skill. Trombonist Clark Gayton's staccato bursts and husky tones create rhythmic intricacy and churning riffs one doesn't expect from a trombone. He has real flair for a kind of burlesque funk emerging later in the program. Carlton Holmes (piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.Piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.Livers the goods with as much stage presence as skill. Trombonist Clark Gayton's staccato bursts and husky tones create rhythmic intricacy and churning riffs one doesn't expect from a trombone. He has real flair for a kind of burlesque funk emerging later in the program. Carlton Holmes (piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.Piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.Livers the goods with as much stage presence as skill. Trombonist Clark Gayton's staccato bursts and husky tones create rhythmic intricacy and churning riffs one doesn't expect from a trombone. He has real flair for a kind of burlesque funk emerging later in the program. Carlton Holmes (piano) creates clean, inventive, off-the-beat embellishment without ever losing melody—a feat. Holmes's solo in “Golden Time of Day” (Frankie Beverly) is achingly evocative.
The arrangements of “Golden Time of Day” and “Midnight Sun” are particularly beautiful and nuanced. Only “Thou Swell” (Richard Rodgers/Lorenz Hart) seems less than it might be—rushed and zig-zagging, missing the mood and ballast of the original song.
This is a terrific, tight, juicy collaboration. Extremely entertaining.
Alix Cohen
Cabaret Scenes
www.cabaretscenes.org
