By Marilyn Lester***As an ingenue, Ann Kittredge had a successful and promising career Off Broadway and regionally. Then in the midst of a journey that logically would have led to Broadway, she married and chose to devote her time and energy to raising two children. When the time was right several years ago, she 
returned to the stage, choosing the art form of cabaret. She was an instant smash. Now, into the second year as a recording artist, Kittredge has once again conquered a genre.
Her latest CD, Romantic Notions, following her debut, reIMAGINE, was celebrated at Birdland with the recording’s band, Christopher Denny-piano, Mary Ann McSweeney-bass, Rex Benincasa-drums and percussion, Sean Harkness-guitar and special guest, saxophonist Aaron Heick, who sat in for a few numbers before having to sprint over to a Broadway pit to play a show. This is a first-call group of musicians whose superb playing was somewhat diminished by a troublesome sound balance from the usually expert Birdland tech crew; fortunately, their excellence and Kittredge’s helped mightily to overcome the problem.
The title, Romantic Notions, is about that just that—how we all might approach and think about love in its varied forms. The ancient Greeks would probably have loved this concept and the CD: they had about eight words 
to describe love in all of its guises. To communicate these ideas, the especially astute arrangements of the music (there are 12 tracks on the album) leaned toward making them story-songs. The actress in Kittredge took a deep dive into lyric interpretation; she’s one savvy singer. “I Feel the Earth Move” (Carole King) had a, well… earthy, feel to it with a blues twist. Anyone who’s experienced the first rush of love can relate. And that exciting newness was followed by a joyful, Latin-tinged “I Just Called to Say I Love You” (Stevie Wonder).
Another smart move on Kittredge’s part, aided by director Barry Kleinbort, was a focus on the material, meaning a concise narrative. This the singer delivered with a natural grace and authenticity tinged with a terrific sense of humor and humility. Kittredge is also blessed with a clear, operatic-style soprano that adjusts perfectly to pop and standards with range. A pop tune, “Didn’t We,” written in 1967 by Jimmy Webb (listen to the first recording by James Darren) and now a modern standard, was sung with an achingly intimate take.
Not on the album, but reflective of Kittredge’s philosophy were a hopeful “What the World Needs Now Is Love” (Burt Bacharach, Hal David) and, as an antidote for political stress, “Ac-Cen-Tchu-Ate the Positive” (Harold Arlen, Johnny Mercer). The latter’s jaunty, upbeat tempo had a bass lead-in and features for all the musicians, with whom Kittredge shares a very special collaborative bond. Reprising “Ah, Sweet Mystery of Life” (Victor Herbert, Rida Johnson Young) to Harkness’ guitar, from reIMAGINE, Kittredge beautifully breathed life into a 1910 chestnut. What a perfect summation to a thrilling show!
Photos by Conor Weiss
