By Andrew Poretz***Award-winning singer, actor, comedian and storyteller Ben Jones has been making a splash in the New York cabaret scene of late. He’s performed in the Mable Mercer Cabaret Convention and makes frequent appearances in Manhattan venues. In his latest (sold-out) show, Timeless, at The Laurie Beechman Theatre,Jones displayed one of the most thrilling voices in the business, with a seemingly impossible upper range, which didn’t go unnoticed to many in the room, including notables such as Michele Lee, Bill Hutton and Linda Purl. The excellent trio supporting
Jones consisted of musical director and pianist Ron Abel, bassist Yuka Tadano and guitarist Oz Noy.
The opening number was a killer arrangement of Stevie Wonder’s “Sir Duke,” using the bridge as a tempo rubato verse, with special, name-dropping lyrics. Jones is funny, with both set patter and clearly off-the-cuff jokes based on the audience’s response. On a soulful “Ain’t No Sunshine” (Bill Withers), guitarist Noy played a blistering solo that had people whispering, “Who IS this guy?” Noy was quite a “get” for the evening. An accomplished solo artist, bandleader andcomposer, he is that rare sideman whose skills could overshadow a lesser performer. Abel’s jazzy arrangement of “People Will Say We’re in Love” (Richard Rodgers, Oscar Hammerstein II) sounded as if it could have been in West Side Story instead of Oklahoma!, with the musicians trading solos.
Jones, who disclosed his process of getting a show idea and title, booking it, and then writing it, asked the audience what makes a song a “Great American Songbook” song, and what they considered the most recent such “standard” might be—which received various comments. The overall idea was to buttress the show’s title , Timeless, with evidence. To th
at end, the diverse set list reasonably showed that each song was “timeless.”
The star made the case for Bob Dylan’s “Make You Feel My Love,” which he once recorded for his own wedding as the couple’s first dance song. With his wife present, Jones became visibly emotional, his connection to the lyrics quite palpable. (Tissues were passed.) For Joni Mitchell’s “A Case of You” from her 1971 Blue album, Jones took a stool by the piano, singing with only Abel’s sensitive accompaniment. This proved to be a stunning show highlight. Another highlight, again with just the piano, was “All of Me” —not the jazz standard, but the John Legend song by that name. Jones continued with just Abel, through much of a moving rendition of “Being Alive” (Stephen Sondheim) that showcased his acting chops, with a breathtaking ending. Frankly, an entire evening of Jones and Abel at the piano would be a treat.
During a beautiful finale of Paul Simon’s “Bridge O
ver Troubled Water,” Jones briefly sat next to Abel at the bench, with Abel supplying a few lines of harmony. A well-deserved standing ovation warranted an encore, and the star did not disappoint. A rather creative arrangement of John Lennon’s “Imagine” utilized themelody of “When You Wish Upon a Star” (Leigh Harline) as a prelude. Jones sang “Imagine” entirely a capella at first, with Abel providing a “music box” arrangement. At the break, Abel melded the bridge of “When You Wish Upon a Star” into “Imagine.”
Ben Jones has grown considerably as a cabaret performer over the years. It’s been gratifying to watch this journey. With his considerable vocal gifts and the confidence to use them, it is tempting to focus on belting rather than storytelling—an early propensity Jones has matured beyond, instead reserving those moments for their biggest impact. A great artist will leave you moved, touched or inspired, rather than simply awed. Jones managed to do all of that at this performance.
Photos by Andrew Poretz
