By Andrew Poretz . . . .
Verena McBee is a German-born jazz singer who lives in the tristate area. The stunning redhead is married to jazz bassist Cecil McBee, who turns 90 later this month. McBee celebrated the release of her most recent album, “Bird (S)wing” at Chelsea Table + Stage, where she performed the entirety of the album live.
The show (and album) feature a dozen songs, most of which would be familiar to any jazz fan, with some interesting surprises and a couple of original tunes. McBee was backed by the excellent trio of pianist Janice Friedman, bassist Stefano Battaglia, and drummer Craig Holiday Haynes. McBee knows her material and has an interesting sound, though she struggled at times with intonation issues caused by a cold.
McBee, dressed in a form-fitting red outfit with violet shoes and sparkly stockings, opened with “It’s Alright With Me,” with just Battaglia’s bass accompaniment, before the rest of the band came in just before the bridge. The arrangement has different keys for the chorus and the bridge, which feels jarring and did not work for this reviewer. Notably, McBee scatted here, and on many songs in the set. Frankly, a little bit of scat goes a long way, unless your name is Ella, Anita, or perhaps Veronica Swift. (And even for the best scat singers, there is a limit.)
“Mutima” was written by Verena and Cecil McBee. The title is a Swahili word meaning “from the heart.” Cecil recorded the tune as an instrumental with his first band, while Verena added lyrics. This interesting, evocative song is quite rhythmic, demanding much from Battaglia on the break, and he delivered as a fine stand-in for Cecil McBee.
The album and show title piece, “Bird (S)wing, Lullaby of Birdland,” mashed up an original by McBee with the famous George Shearing number. McBee’s lyrics tell the story of a couple who fall in love with each other and with jazz. The arrangement and playing evoked a noirish sense of New York city and jazz – the rhythms of the city, especially old, late-night jazz, New York traffic, fast walking, and a sense of urgency. The piece ought to be made into a black and white music video.
McBee and the trio took an unusual approach to “Spain” (Chick Corea and Al Jarreau). An ethereal, with vocal sounds and a screeching bowed bass, started rubato but evolved into a faster piece, with Friedman doubling McBee’s vocal.
“So in Love” (Cole Porter) started slow and langorous, very sexy, with McBee displaying an intensity in her face, her eyes closed as if she were back in that moment of falling in love. Friedman’s playing here was especially excellent.
The evening’s best highlight came in the form of Weimar “kabarett,” a piece called “Surabya Johnny” by Kurt Weill and Bertolt Brecht. “In every woman’s life, there’s a Johnny,” McBee declared, “the one who comes and goes, and leaves you hurting.” Though the lyrics with in her native German, McBee set it up by speaking in English rhyme. The intense piece made the most of McBee’s considerable acting skills. Her expressive eyes and face delivered the full meaning of the song, even when singing in German. Friedman played her part as if it were the dramatic scene in a silent movie. The melody at times had allusions to another song by Weill and Brecht, “September Song,” which McBee performed two songs later, with a Latin-tinged rhythm.
McBee closed the show with her original composition, “Luxury,” which was inspired by Paul Desmond and the 5/4 rhythm. Desmond would have approved.
Verena McBee: Bird (S)wing took place May 2 at Chelsea Table + Stage, 152 West 26th Street in the Hilton New York Fashion District Hotel (https://www.chelseatableandstage.com).