Brianna Thomas is a fine vocalist. She has range, control, imagination and sass. The artist and her talented group, making their Appel Room debut, open 2018/2019’s Jazz at Lincoln Center season with Ella Sang the Blues. Thomas has been a professional since her teens when she bought the Fitzgerald album that most influenced this show – Ella Fitzgerald: these are the blues, at 12 years-old, in a Belgian gas station. Serendipity rules.
Ain’t got the change of a nickel…Ain’t got no fancy to tickle/I ain’t got nothing’ but the blues…(“Nothin’ But the Blues” Duke Ellington/Don George) The song emerges bare bones-clear, sorrowful. Marvin Sewell’s guitar twangs like a mournful howl. Greg Lewis’ organ offers ballast. Thomas tilts her head back, closing her eyes. (Almost the entire performance finds her eyes closed, something of a shut-out.) Now she testifies.
Next is “Downhearted Blues” (Alberta Hunter/Lovie Austin). Lewis’ organ lays a carpet on which vocals arrive…then whomp! the tune boogies. Thomas slaps her thigh, taps her foot… trouble, trouble, trouble/I’ve had it all my days…Phrases go out and circle back like Frisbees. Alvin Atkinson Jr.’s rhythmic bongos set the pace. Patrick Bartley’s sax is cooool. You could jitterbug to these blues.
Brianna Thomas; Brianna Thomas and Greg Lewis
The same bait and switch occurs with 1928’s “Basin Street Blues” (Spencer Williams) which starts with languid, hammock-swing, call/response (Bartley now on clarinet) then suddenly erupts. Thomas dances on her stool conjuring quick-footed enthusiasts outside a hot southern bar. Party! Party! Party! Bartley’s music flies…and quiets aria da capo becoming a faded photograph.
Thomas’ formula appears a third time with “See See Ryder” (Bob Crewe/Enotris Johnson/ Lena Arent/Johnny Moore/Little Richard/Ma Rainey). “When I heard her sing this on the album, I clutched my pearls.” The iconic song begins slow as molasses, an undulating taunt much like Fitzgerald’s version: My stove is automatic/Never need no wood or coal…All I need is for some fine papa/To strike his match and stick it in the hole… Sax segues from wah-wah to loose-limbed. Guitar sounds like a striptease. Then, flash! Though Ella’s recording continues in that vein, Thomas stomps, vocal turns on its brights, organ hits hard. It’s a wall of sound.
LeRoy Carr’s “In the Evening (When the Sun Goes Down)” is “an upset lover song…I’m at the point where if I can find ya, I’m not lookin’ for ya,” Thomas quips. On this, Sewell masterfully plays flute, a splendid sound rarely heard since Hubert Laws and Herbie Mann. Bouncing and swaying propels into R&B. In fact, much of what we hear tonight is treated as R&B, something I for one believe not associated with Fitzgerald. You’d never recognize a sizzleless “My Heart Belongs to Daddy” (Cole Porter) which, but for brief lyrics, sounds like a Carnivale tune.
The Band
Guest Conun Pappas sits at the piano for what seems the Ella portion of tonight’s show. “Sugar Blues” (Clarence Williams/Lucy Fletcher) accompanied by just eloquent piano and guitar, is sweet honky-tonk; a stroll and slide. “Miss Otis Regrets” (Cole Porter) is grave, direct, and beautifully phrased (nothing flip here) with a guitar epilogue. A mossy “What Can I Tell My Heart?” features tender sax. Organ sounds schmaltzy. The song ends BIG.
All the musicians are swell with Sewell and Bartley stand-outs.
I wish the evening had more of an Ella Fitzgerald tone; Thomas seems insistent on representing her own, more modern take. Clearly the talented artist can sing both, but…
Photos by Lawrence Sumulong for Jazz at Lincoln Center.
Opening: Brainna Thomas and Patrick Bartley
Jazz at Lincoln Center presents: Ella Sings the Blues
Brianna Thomas- Musical Director/Vocals
Patrick Bartley-Wind Instruments, Marvin Sewell- Guitar, Conun Pappas- Piano,
Greg Lewis-Organ, Alvin Atkinson Jr. – Drums
The Appel Room- Frederick P. Rose Hall
September 15, 2018
