By Alix Cohen
Jane Scheckter has been singing her entire life and she’s learned a few things. The poise with which she takes a stage, gestures that extend feeling rather than exaggerate it, and impeccable enunciation seem unstudied. To these she brings tonality, taste, warmth, and awareness of lyrics reflected by personal phrasing. Textured contralto embodies character.
The work of Dorothy Fields and Cy Coleman offers a multitude of splendid song choices. Another of Scheckter’s skills is the material she selects. It’s always a mix of the familiar that that which is lesser known. Tonight is no exception.
“Would you like to have fun, fun fun. Howz about a few laughs…” Scheckter begins deadpan with lyrics from Sweet Charity. “We’re gonna have a great time, she adds in her own bright voice, “because… ‘I Feel a Song Coming On.’ (Dorothy Fields/Jimmy McHugh) The clever intro acts like a drawstring. We’re all in.
Though Fields came from a show business family, they wanted her to “marry a nice doctor.” At 23, the mega hit “I Can’t Give You Anything But Love” (with Jimmy McHugh) shut down that thought. The vocalist’s rendition starts eezeee, flirty, then morphs into mambo. As eyebrows rise, ever polished, she sways.
Seymour Kaufman’s parents were no more supportive, but he loved music too much to let them rule. Taking the name Cy Coleman, the musician excelled at jazz, standards and musical theater. “I Walk a Little Faster” (with Carolyn Leigh) is meditative. Brushes circle, piano is stroked, then tiptoes. Longlined vocal is plumy, full of anticipation.
Many consider Fields’ finest lyric to be that for “Remind Me.” (with Jerome Kern) The song emerges slowly, savoring its message. Scheckter brings gravitas and experience to a lyric often tossed off with a wink; maturity without dust.
Ten years after Kern’s death, his wife Eva sent Fields the music for what became “April Fooled Me.” Every word emerges credible. The artist almost speaks. ‘Just lovely.
“Personal Property” from Fields/Coleman’s Sweet Charity opens with cool, syncopated bass. Drums are tap-dancy. Leonhart quietly scats. To hear the song without its usual over production is to understand its heart.
Three from the collaborators’ musical Seesaw follow, showing its heroine, Gittel’s arc. Scheckter sketches plot. The third, “I’m Way Ahead” leaves us on a poignant, positive note. Firth manifests its dreams, Leonhart its heart, Grant its resonance.
In my experience, positivity underpins this vocalist’s shows. She can be wistful, wounded, even raw, but ultimately, there’s an affirming quality to sharing time.
The program closes with “Some Kind of Music” (Cy Coleman/Carolyn Leigh) “I think this represents Cy’s feelings about music,” she comments:” All I want is some kind of music/Some kind of music in my ear…” You might say the same for Jane Scheckter . The lighthearted interpretation sends us home with smiles.
Two personal stories, one about speaking with Peggy Lee and another about something inherited from Dorothy Fields whom the artist apparently knew, are particularly winning. More about her relationship with Fields and fewer facts would be welcome.
Arrangements are half by Mike Renzi, half by Tedd Firth – both blue chip.
Ever remarkable, Tedd Firth is given ample opportunity to showcase talent and collaborative skills. Piano soliloquies are often as romantic as a full-blown orchestral embrace. Swing is palpably dancy.
Jane Scheckter Sings Dorothy Fields and Cy Coleman: Together and Apart
Tedd Firth – MD/Piano, Jay Leonhart- Bass, Peter Grant-Drums
Pangea 178 2nd Ave at 11th Street https://www.pangeanyc.com/
