By Bart Greenberg***Sometimes the backstory for a cabaret show is just as fascinating as the show itself. This was definitely true of Jeff Harnar’s glowing salute to one of our most adept lyricists in Sammy Cahn: The Second Time Around. The two-night event taking place at the New York cabaret world’s champagne location, 54 Below, was in honor of the same-titled CD from PS Classics as well as the singer’s 65th birthday. And what a party it was, with a packed room filled with nightlife royalty such as Ann Hampton Callaway, Steve Ross, Ari Axelrod, Natalie Douglas and many more.
The history of this show, and the associated CD, dates back 24 years to an album Harnar and his long-time musical partner, Alex Rybeck, created, entitled Sammy Cahn: All the Way. It was released by Jerome Records, a label devoted to cabaret artists. (It was this recording that first introduced me to the singer when he came to Tower Records, where I then worked, for a promotional appearance.) Unfortunately, the company soon went up in legal flames with a scandal that led to almost all of their product being seized, never to be seen again, including the masters.
Flash forward more than two decades and PS Classics, led by Tommy Krasker and Philip Chaffin, who with their ace producer, Bart Migal, decided to rescue the recording by remastering the old tracks—rerecording some and adding six new tracks, some with special guest stars joining Harnar. The result is a seamless creation, a fitting tribute for the witty and wise lyricist, and a showcase for the talents of 
one of New York cabaret’s finest vocalists. The CD version includes a classy booklet with excellent photos of the recording session, full credits, thank yous from the singer, and an appreciation by champion of the Great American songbook, David Kenney.
On the second evening of Harnar’s engagement (Saturday), all of his guest stars were able to join him on stage. Jazz vocalist Clint Holmes, mostly residing in Las Vegas these days, joined in for clever mash up of “Come Dance With Me” and “I Like to Lead When I Dance” (both with music by James Van Heusen), given a sly and witty twist with much flirting between the men as they musically debate who’s in charge. A 2024 Grammy-winner for her new jazz album, Nicole Zuraitis, joined in for a 
spirited “Come Fly With Me” (Van Heusen), liberally sprinkled with her offering up some scat riffs while Harnar stood back and admired her. Perhaps the biggest surprise of the evening was the glamorous triplets from Kenya, MOIPEI, swinging “Bei Mir Bist Du Schoen (Means That You’re Grand)” (Sholom Secunda, Saul Chaplin and English lyrics by Cahn) in the original Yiddish and English—and also some Swahili,courtesy of their mother. This was theatrical magic indeed.
But it was Harnar center stage who seduced the audience with his natural elegance, his humor, both sly and wacky (his Dean Martin imitation singing some specialty material was one of the comedy highlights of the evening), and his superbly sensitive interpretation of lyrics. Harnar has that rare ability to make every member of the audience feel as if he is singing directly to them. Taking the audience back in time with a medley of World War II songs—all with music by Jule Styne: “Saturday 
Night (Is the Loneliest Night of the Week,” “I’ll Walk Alone” and “It’s Been a Long, Long Time”–he delivered the material with great sensitivity. Turning the semi-operatic “Be My Love” (Nicholas Brodsky) into a 1950s doo-wop number, complete with falsetto, had the assembled happily going along for the ride.
Amid all the beautifully presented standards: “I Fall in Love Too Easily” (Styne), “Call Me Irresponsible” (Van Heusen), there were some surprises. The snarly funny “Love Is a Bore” (Van Heusen) served as counterpoint to all the more romantic songs in the show (and was enhanced with an arrangement that had some echoes of Judy Garland’s “Love”). And probably nowhere else would you hear three songs from the Broadway flop Skyscraper with music by Van Heusen: the floppo “Opposites,” 
here a duet for Harnar and Rybeck, who managed to charm; a swinging “Everybody Has the Right to Be Wrong;” and the quite lovely “I’ll Only Miss Him When I Think of Him”—the pronouns transformed from the earlier recording, which personalized the performance without making a fuss about it. This approach to pronouns sums up Harnar’s approach on all the material on both the recording and on stage–an approach that made for a totally satisfying experience.
No Jeff Harnar show would be complete without music director Alex Rybeck. “The Second Time Around” (Van Heusen) received not only a lovely rendition, but also a gorgeous arrangement, lush and romantic. Rybeck also invested the World War II medley with a rich big band sound, maximizing the major contributions of bassist Steve Doyle, drummer Ray Marchica and saxophonist-flutist Marc Phaneuf. The production was directed by longtime Harnar collaborator, Barry Kleinbort.
Photos by Maryann Lopinto
