Susan Mack tackles positivity with the determination of a salmon swimming upstream. She vibrates with it. At a time when the world is in turmoil, music becomes shared respite, a test of faith. Vocals are expansive, presentation open-hearted. Mack also brings glamour to the stage.
“Love You Madly” (Duke Ellington) begins with David Finck’s deft bass, easing into swing. Mack has an affinity with melisma and darting notes. Think Annie Ross’s “Twisted.” She might consider a World War II show. Lyrics arrive almost scat. Tim Armacost’s sax takes off – shoulders tilt, knees bend, eyes scrunch. “Blue or not, we plan on leaving you with magic,” the vocalist grins. “Joy Spring” (Clifford Brown/Jezra Kaye) offers similar dexterous approach. Phrasing zig-zags as if at a playground; enunciation is pristine. THIS is happy.
Susan Mack
“I’m Gonna Live Til I Die” (Al Hoffman) is peppered with infectious “Hallelujah!” Eyes blaze. Bending towards front row audience, Mack inquires “Are You Having Any Fun?” (Sammy Fain/Jack Yellin): Even the old grey mare down home/Has got to have hay, hey!/You better have some fun... Gestures are minimal. Arms sometimes rise organically.
Carl Sigman/Bob Russell’s classic “Crazy He Calls Me” arrives believable if colored by an introduction that refers to her son, not romantic attachment. Tedd Firth’s piano melodically muses. Sentiment swells, but Mack never goes over the top. The number is internalized. Continuing reference to the kids elicits the dulcet “Waltz for Debby”(Bill Evans/Gene Leeds) in tandem with “Never Never Land” (Jule Styne/Comden & Green). It’s winning, but once again, only a glance to where her children sit takes her gaze towards us.
Singing in Portuguese has been on the artist’s bucket list. This year Mack took lessons from a teacher in Rio by ZOOM. “I hope no one in the audience speaks Portuguese,” she quips. The title song, “Chega de Saudade/No More Blues,” sashays, first in its original language, then English. Tempo and rhythm is sheer Carnivale. Shusshh sound and inflection feel authentic. Hips reflect spirit. At the piano, Firth almost dances (Antonio Carlos Jobim/Vinicius de Moraes, English lyrics- Jon Hendricks). More please.
Susan Mack, David Finck, Eric Halvorson, Tim Armacost
Like any singer, the artist tells us, she gravitates to those writers who articulate what she feels. Mack’s own “A Brighter Day” furthers her message: Music is the lover who will hold me tight/And when it starts to play/Then it’s a brighter day… It’s a cha-cha. Scat conversation with sax is appealing. Both musicians tap their feet, shift knees. At the drums, Eric Halvorson grins with his sticks.
Buddy Johnson’s “Save Your Love for Me” floats in plaintive. Sax is melancholy, cymbals swish; eyes close, a hand rests atop the piano. Taking it down a bit would serve. This show has much similarity of level. Every song either begins slow/low and launches, or launches from the get-go. A couple of quieter, less dense parentheses – perhaps “There Will Never Be Another You” (Harry Warren/ Gordon Mack) with only piano – would be welcome. Mack has the control and finesse to do this.
“If It’s Magic” (Stevie Wonder) completes the evening: If it’s magic/Why can’t we make it everlasting?/Like the lifetime of the sun/It will leave no heart undone/For there’s enough for everyone…Bass is cottony, vocal lovely.
No More Blues – Susan Mack
Directed by Lina Koutrakos
Tedd Firth MD/Piano
David Finck – Bass
Eric Halvorson – Drums
Tim Armacost – Sax
Birdland
315 West 44th Street
