A Tribute to Nat King Cole
Dates 2 & 3 January 2005, 8pm Venue Orpheum Theatre
Reviewer: John Jane
Ken Hsieh -Vancouver Symphony Orchestra Conductor John Pizzarelli - Vocals/guitar Ray Kennedy - Piano Martin Pizzarelli - Bass Tony Tedesco - Drums
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John Pizzarelli |
Most of us only remember Nat King Cole as a ballad-singer, and perhaps forget that he was first a jazz pianist with amazing delicacy and imagination, whose influence is credited by many later jazz musicians. Cole’s drummerless trio, comprised of Cole himself on piano, guitarist Oscar Moore, and bassist Wesley Prince was quite an innovation, and their improvisational interplay was to be marvelled at.
The King Cole Trio format has been emulated by John Pizzarelli, though drummer Tony Tedesco has recently been added to the band’s line-up. Led by the charismatic Pizzarelli, this easy-going quartet may be the best-looking group of jazz musicians currently on tour. Their repertoire is largely based on the American Songbook with laid-back interpretations of swing tunes and timeless jazz standards.
Pizzarelli and his band-mates dedicated only a 45-minute set in the second half of their concert to showcase songs associated with the venerable Nat Cole. Performed in roughly chronological order, the selection ran the gamut from less well-known tunes from Cole’s "Trio" days up to his latter "popular" period, culminating in a free-wheeling rendition of “Route 66."
“Straighten’ Up and Fly Right” and “Paper Moon” provided an opportunity for guitarist, Pizzarelli and Ray Kennedy on piano to display some sparkling improvisation, while younger brother Martin Pizzarelli and Tony Tedesco provided a solid anchor on stand-up bass and drums, respectively.
Members of the Vancouver Symphony Orchestra were also given an opportunity to shine. On the evocative “For All We Know,” trombonist Greg Cox and flautist Christie Reside offered stellar solo sections.
The VSO’s lush orchestrations, under the energetic direction of new assistant conductor Ken Hsieh, generally combined well with the jazz quartet’s loose, expansive style, particularly with a well blended medley of Cole favourites that included “Ramblin’ Rose,” “Unforgettable,” and the haunting “Nature Boy.” However, the orchestra's "filling-out" on some of the featured performer's improvised sections could have been dispensed with.
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The programme in the first half had nothing to do with Nat Cole. The VSO opened with Leroy Anderson’s opulent “Belle of The Ball,” followed by “Sandpaper Ballet,” and “Fiddle-Faddle” by the same composer. Anderson's trademark was creating ways for an orchestra to portray common sounds from the "real world." With “Sandpaper Ballet,” percussionists Vern Griffiths and Tony Phillips imaginatively employ this technique by rubbing together a pair of sandpaper blocks.
While the focus in the second half was on the music of Nat Cole, the fare presented by the Pizzarelli band in the first half was more eclectic, offering tasteful renditions of Gershwin songs like “Nice Work If You Can Get it” and a delightful pair of Bossa Nova stylings -- “One Note Samba” and “Estaté” (Summer) sung in Italian by (John) Pizzarelli.
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Nathaniel Adams Cole 1919-65 |
The quartet closed out the first half with their own “I Like Jersey Best” -- probably intended more for a cabaret club setting than a concert hall -- with the older Pizzarelli brother attempting to take the audience on a humourous sightseeing trip of his home state, while impersonating the musical styles of Bob Dylan, Lou Reed, and Paul Simon.
Some devoted Nat King Cole fans may have left The Orpheum disappointed that they did not hear their favourite tune, but all-in-all, the combination of four talented musicians at the top of their game and some well-crafted tunes worked well.
The Vancouver Symphony dedicated the concert to the memory of those who lost their lives as a result of the tsunami that hit South-East Asia on Boxing Day. They could not have chosen a more fitting event than a concert honouring Nat King Cole, one of the last century's warmest and compassionate entertainers.
© 2005 John Jane