By Alix Cohen
Laurie Krauz may be one of the best jazz artists of our generation. Her well honed vocal instrument evinces elastic versatility and control. Tantalizing power eschews the easy route to volume. In the zone, music courses through Krauz viscerally and visually evoking almost trance-like movement verging on choreography.
The performer symbiotically collaborates with MD/arranger/pianist Daryl Kojak whose creativity emerges in sight of, but not clinging to melody. Joint interpretation offers original, often startling takes on even the most iconic material without losing lyrical meaning. Choices are unique.
The Sets series (this is the third) endeavors to mine 35 years of repertoire without thematic rhyme or reason. Instinct regulates sequence.
“I’m Gonna Sit Right Down and Write Myself a Letter” (Joe Young/ Fred E. Ahlert) is light and playful. Scat seems to emulate dialogue with unspoken, yet expressive narrative arc. Krauz’s hands sculpt the air. Piano taps, twirls and dips with short, sharp phrasing.
Completely changing tack, “A Flower is a Lovesome Thing” (Billy Strayhorn) emerges as thoughtful, poetic philosophy.- also light (not flimsy), Sound evokes cathedral bells under water.
Austere, music box like piano unexpectedly introduces “About a Quarter to Nine” (Al Dubin/Harry Warren) in tandem with “Black Coffee.” (Paul Frances Webster/Sonny Burke) Both couldn’t be further than that to which we’re accustomed.
The first is haunting; it’s final lyric whispers. The second arrives as blues. Arms at her sides, eyes intermittently closed, Krauz snaps and howls: “Black coffee/Love’s a hand-me-down brew/I’ll never know a Sunday/In this weekday room…black ca aw aw fee…Why’d’ja go, Why’d’ja go, Why’d’ja go?”
“Om a queen bee buzzin’ round your hive…Well, I can make honey, baby/Let me come inside…”precedes, I kid you not, tuneful buzzing. Krauz rounds the piano looming over Kojak with scrappy, sexual innuendo. She quivers with intention. (Originally “I’m a King Bee” – Slim Harpo, modified by Koko Taylor) A smoldering hoot.
Undulating piano paints memories with “A Time for Love” (Paul Frances Webster/Johnny Mandel) The ballad is exhaled, delicate as moonlight. “You Won’t Forget Me” (Kermit Goell/Fred Spielman) might be an end to the preceding idealistic relationship. Krauz delivers wrenching rue: “Just wait and see.” During instrumental parentheses, the vocalist appears cocooned in pain.
Canny talk of current politics introduces as determined a version of “On the Sunny Side of the Street” as you’re ever likely to hear.The arrangement sashays with New Orleans’ slow bounce/ bump ’n’ grind. Step, tap; step, tap, Krauz’s arms swing and rise. Vocal slip/slides. Piano is coooool. (Dorothy Fields/Jimmy McHugh)
Tonight’s coda, “You Must Believe in Spring” (Michel Legrand/Alan & Marilyn Bergman) emerges low and pristine with an unanticipated plea. “We MUST believe…
A evening of artistic audacity, skill, and judgment, the almost perfect show bulged with a couple of lengthy stories that, though illuminating, might successfully be edited.
Heads up artists: Krauz looks glamorous in vibrant, tasteful turquoise. Let’s get some color onto cabaret stages.
Photos by Stephen Hanks
Laurie Krauz & Daryl Kojak- Sets V3
Technical Director- Kelly Wohlford
June 17, 2026
Don’t Tell Mama 343 West 46th Street https://donttellmamanyc.com/
COMING UP:
September 17: Sets – V4 and December 10: Sets V5
