There are things we expect from Carole J. Bufford: She will take possession of a stage as if reaching the summit of Everest – and revel in it. She’ll sashay, strut, shimmy, snap, tap, kick, and jerk back shoulders
like itchy wings; grasp the microphone stand as if to ground herself, slice the air with irrepressible (Hirschfeld) arms and splay-fingered hands; wrinkle her nose, scrunch her eyes, and exude positivity. Bufford will commit to every song, unearthing anecdotes you actually won’t have heard before. She’ll mean it when she thanks the band – and you.
We grew up with this music which is usually revived as written. Not so tonight. Ian Herman has woven arrangements adding subtlety beneath considerable volume. More quiet songs would be welcome.
Peter Calo’s heady guitar both rocks and cajoles. A splendid addition.
“The Letter” (Wayne Carson) is dark, low, nasal, rhythmic and open-throated. “Sittin’ On The Dock of the Bay” (Steve Cropper/Otis Redding) emerges like molasses, one instrument at a time, layered with a shrug and a sleepy smile. During “The Look of Love” (Burt Bacharach/Hal David), apparently recorded – by vocalist request – in a pitch black studio, Bufford seduces the audience face by face. Knees bend just a little. Piano accompaniment is beautiful. Kris Kristofferson’s “Help Me Make It Through the Night,” has the wisdom to complicitly entwine only piano and singer.
Carole J. Bufford
The iconic “Bridge Over Troubled Water” (Paul Simon) arrives born on Calo’s sensitive guitar. If only we could see him. Ask the man to step forward, Carole. Bufford turns this into gospel, vocally sculpting emotion. Carole King’s “Tapestry” “celebrates King’s newfound freedom,” having divorced and moved to Laurel Canyon. It’s folksy; kneaded (like bread), her smile-first teeth, then lips.
With “Come Together” guitar spirals, jags, and wails. Dan Glass lets his percussion have it! John Lennon/Paul McCartney wrote this to be used as Timothy Leary’s campaign song when he ran for governor! “Come Together” was his slogan. “Honky Tonk Women” (Mick Jagger/Keith Richards), “The Night the Lights Went Out in Georgia” (Bobby Russell), and John Fogarty’s “Way Over Younder” are highlights. Bufford ransacks and spits lyrics, covering the stage like a dancer. Music is hard and sharp. Her band is clearly having as much fun as we are.
Ian Herman
“Different Drum” (Michael Nesmith) and “Moondance” (Van Morrison) surge too smooth and fast, washing over instead of hooking us with either rhythm or intention. A little less unconstrained arm movement would serve to distract less from lyrics.
Photos Alix Cohen
Opening – Carole J. Bufford and Peter Calo
Carole J. Bufford: Come Together – When the 60s Met the 70s
MD/Piano Ian Herman
Peter Calo – Guitar and back-up vocals; Tom Hubbard – Bass; Daniel Glass – Drums and back-up vocals
54Below
254 West 54th Street
