By Marilyn Lester****Singer-pianist Daryl Sherman has been a long-time fixture in the international and New York City jazz world. Her endurance as a favorite is well-founded in her talent and charm. She’s full of life, happy-go-lucky—a perennial breath of spring no matter what the season. Even the sourest of pusses can’t help but leave a Sherman performance smiling broadly. In this turn at the Birdland Theater, Sherman’s theme was Spring Fever, with a repertoire of springy tunes from the wistful to the whimsical. She was joined in the set by trombonist Art Baron and bassist Boots Maleson, two masters of their craft.
The opener, “It’s Anybody’s Spring” (Jimmy Van Heusen/Johnny Burke), was a jaunty entree into the festive seasonal set. A dreamy version of Richard Rodgers and Oscar Hammerstein’s “It Might As Well Be Spring” was the perfect choice to highlight the dual talents of Sherman: her lyrical touch on the keys and equally bright delivery—relaxed yet animated at the same time. Maleson, who plays an extended range bass, a five string instrument, produces a full-bodied sound, which is extremely ear-pleasing when he soars in improv as well as when he plays close to the melody, as he’s often wont to do. Sherman, who can scat, also has a handle on parlando, which she approached in a trenchant “Stars Fell on Alabama” (Frank Perkins). Her setup for the tune, the back story of a historic meteor shower over the state in 1833, was delivered in her chatty, naturalistic style. Art Baron, using the plunger mute for depth and effect, gave a nuanced performance of the standard.
A real treat of Spring Fever came from a bit of Baron’s history as a young bone player under Duke Ellington, in the last years of the band led by the Maestro. The amusing “Tulip or Turnip” (lyric by Don George), with Sherman standing at the mic, included a clever call and response riff inserted with Baron. Billy Strayhorn’s “A Flower Is a Lovesome Thing” featured Baron on the melody of the hauntingly beautiful ballad. Ellington’s evocative “Azalea” (lyric by Paul Francis Webster) presented Maleson an opportunity to display his playing chops, with a rich sumptuousness. A travelogue medley began with “Spring in Manhattan” (Anthony Scibetta/Alice Reach), sprung to “April in Paris” (Vernon Duke/ Yip Harburg) with Baron again playing sensitively on the melody, and ended way out west in Alaska with the hilarious “April in Fairbanks” parody (Murray Grand).
What could be better for a songwriter to be in the house and have one of his tunes played so lovingly? Sherman offered Roger Schore’s “In April” with sincerity, moving into a swinging “April Love” (Sammy Fain/Paul Francis Webster), and ending with the encore number, the appropriately hopeful and bubbly “Spring Spring Spring” (Gene de Paul/Johnny Mercer), thus completing a colorful and resplendent musical bouquet. Sherman et al provided a large dollop of warm sunshiny pleasure for a chilly April evening still clinging to winter.
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