Vocalist Joie Bianco was introduced to the cabaret community while still in her teens. Preternaturally talented, she began performing American Songbook at Mabel Mercer Foundation events (then, clubs) where she became the youngest recipient to win the “Julie Wilson Award” at a New York Cabaret Convention. She’s collaborated with and taken lessons from some cream of the art form. This fall, at 21, the artist will be a senior jazz vocal performance major at the University of Miami, Frost School of Music.
Bianco tells us she has affinity for a wide variety of music. But for a single blues, this evening’s program showcases jazz. Pianist Jon Weber, who’s been working with her since she was 15, paternally enthuses about the young woman’s mature and interesting musical instincts as much as her skill. She has an engaging stage presence and clear sense of professionalism that belie her years.
“Exactly Like You” (Dorothy Fields/Jimmy McHugh) begins a cappella with drum response. The band comes in and Bianco slides to scat. Eyes closed, she bounces and sways emitting such a bright sound it’s almost visually illuminated. Music seems to course through her. Phrasing is – personal.
Additionally accompanied by guest trumpet Zaq Davis, “When a Woman Loves a Man” (Johnny Mercer/ Bernard Hanighen/Gordon Jenkins) arrives with soft vocal edges. Trumpet adds adroit underpinning. (Immensely talented, Davis’ contribution might be more effective using a mute more frequently. The club is small, his sound expansive.) “Tell her she’s a fool/She’ll say yes, but I love him so,” the vocalist sings as if she knows what she’s talking about. “Well, it’s always this way when a woman loves a man,” she shrugs. The beat is strong. Bianco knows enough to maintain her own water level.
A duet of Duke Ellington’s “Love You Madly” with guest vocalist Tyreek McDole appealingly pairs her sunny sound with his flannel one. Mutual admiration is clear. Smiling, she pokes him in the chest with “you.” McDole presents an easy (not lax) style and similar penchant for experimentation. They’re good together. Weber weaves through the melody with unerring sense of direction. McDole comes back in from the top down undulating octaves. He’s the sax here, she the trumpet.
Davis returns for “I Cover the Waterfront” (Edward Heyman/Johnny Green) which is sweet and smooth. Bianco’s lower register adds shadowy pathos to brass wail. She sells the lyric, but oddly doesn’t look at us- something of an issue throughout- ending on an ethereal note that seems to dissolve in fog. “Wild Women Don’t Have the Blues” (Ida Cox) evidences a long southern vowel. Being is aptly pronounced as “bein” and better, “betta.” Inflection is employed without exaggeration. Bass adds molasses undulation; trumpet palpably squeezes out notes from narrow to wide.
Weber is replaced by pianist Eric Stern for the rest of the set. “I’m All Smiles” (Herbert Martin/Michael Leonard) combines happy sentiment with a decidedly unhappy arrangement. “Star Eyes” (Don Ray/ Gene Paul) is bookended by Carnivale rhythm (go Dan Glass!) that fades to Stern’s keyboard meandering so far away from tune, it loses me. (Technique is excellent.) The musician repeats his tendency with “Never Will I Marry” (Frank Loesser) which is vocally full of feeling, if unrecognizable. Bianco rolls her notes around before releasing them. Scat is supple.
“Wrap Your Troubles in Dreams” (Ted Koehler/Harry Barris/Billy Moll) swings in familiarly. Lyrics soar in arcs, scat neatly slip/slides. ‘Cool arrangement. “Go Chase a Moonbeam” (Lee Pockriss/Paul Vance) has a Spanish feel. A pretty song sung to good advantage, light and clean with tripling music.
Joie Bianco continues to blossom before our eyes.
Joie Bianco and Friends
Vocals- Joie Bianco
Piano- Jon Weber; Eric Stern
Bass- Cole Davis
Drums- Daniel Glass
Guests: Vocalist Tyreek McDole; Zaq Davis- trumpet
Birdland 315 West 44th Street
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