By Alix Cohen

Lena Horne was a remarkable singer, actress, and civil rights activist who left a mark on both entertainment and American history. It takes guts to emulate an icon. Artist Leslee Warren comes equipped. Natural elegance and gravity concerning her honoree evinces the kind of sophistication that emerges with respect, deep feelings, and sass.

Phrasing is unhurried; effectively paused. Tone is velvety and warm, sometimes smoky, without frayed edges whether hushed or fanned out. Obvious pleasure in her band’s excellent musicianship is infectious.

Theatrically singing from the stairs – alas, with next to no light, Warren opens with “The Lady is a Tramp” (Richard Rodgers/Lorenz Hart). Like the song’s subject, Horne refused to bow to society’s expectations, was notably independent, and had a heady disregard for pretense.

With the icon’s story bridging songs, Warren offers material from early Broadway, appearance at Larry Josephson’s Café Society (the first fully integrated club in New York), concerts, and recordings. It was Josephson who convinced Horne to try the blues. With Billie Holiday’s blessing, the vocalist embarked on a new genre. “Fine and Mellow” (Holiday) emerges resolute. Short phrases hold elongated words. Tempo is bump n’ grind, juke joint cool.

“Ill Wind (You’re Blowin’ Me No Good)” (Harold Arlen/Ted Koehler) drifts in on meditative piano. Many notes have vibrato tails. “It’s so hard to keep up with troubles that creep up/From out of nowhere, when love’s to blame…” Warren unpretentiously channels woe. Later, “Can’t Help Lovin’ That Man” (Jerome Kern/Oscar Hammerstein II) seems completely credible. The artist probes.

Appearing with segregated USO, Horne saw Negroes seated behind German POWS. She complained. On the one hand, this saddled her with the reputation of a troublemaker. On the other, Blacks in the service acquired their own pin up girl.

1947’s “I Feel So Smoochie” (Phil Moore), bubbles up flirty. “Where you from soldier?” the performer asks leaning out. “Hello, Flyboys!” Hips shift. Mischief migrates across her face.“Lena was the breakthrough, the right girl at the right time, a symbol,” Warren notes.

“Stormy Weather” (Harold Arlen/Ted Koehler) opens a capella – yes her voice is that good. “Love, love, la-uve,” she sings, “Stormy weth-a/Since my man and I ain’t together…” The lush outpouring rivets.

Billy Strayhorn, with whom Horne shared a profound, lifelong friendship, penned Warren’s encore, “Maybe.” This character has been around the block a few times. Music is balmy; vocal tantalizing, ripe.

The artist shared practically nothing about herself. One hopes for a more personal show next time, but this, her re-entrance into the community, is terrific. Book the Urban Stages repeat! show!

Photos by Alix Cohen

Leslee Warren: Light, Dark, and Stormy- Lena Horne
Directd by Lena Koutrakos
MD/Piano/Arranger- Gregory Toroian
Bass – Skip Ward; Drums- David Silliman
Chelsea Table & Stage 152 West 26th Street https://chelseatableandstage.com/
REPEATED at Urban Stages Winter Rhythms 259 W 30th St
December 3 at 9pm https://www.urbanstages.org/winterrhythms2026