By Marilyn Lester***Once upon a time the great Duke Ellington designated the equally great Ella Fitzgerald as “beyond category,” an honor to be used sparingly. So while she’s widely known now as “The Marvelous Marilyn Maye,” it’s ever more clear that this wondrous diva is much more than that—she’s easily beyond category. In this latest gig of her life of almost continuous performance (the stage is her true home), a year-end run in the Birdland Theater, Maye’s sold out opening night was the perfect example of all that makes her marvelous and more.
The diva is the queen of medleys and her opening was not so much one of classic Maye-related themes, but one subtly linked by appreciation, forming a continuous flow of standards that revealed her mightily relaxed, charmingly playful and in superb spirits and voice. Peppering tunes such as “I’ve Got You Under My Skin”and “All of You” (both Cole Porter,) Maye riffed and quipped—her ability to engage and interact with her audience and command a room is a master class in itself. There’s not tired text here, nor is it required. Maye’s vocal prowess and the light patter that connects the dots is all that’s needed or wanted. Her pacing and ability to create a flowing wave of mood through song and tempo is masterly.
Maye has tremendous respect for her musicians (and the feeling is certainly returned); she’s loyal to those she knows will click with her style. Longtime bassist and drummer, Tom Hubbard and Daniel Glass, respectively, fit into that musical groove as one would into a comfy pair of slippers. New to the equation in this performance was pianist Ted Rosenthal, who was working with Maye for the first time. Very subtly missing was the usual sympatico she has with her two mainstays—Tedd Firth and Billy Stritch. The end result was still a fine one, but for those who lean toward Maye’s jazz vocals, which includes a mean scatting ability, there was less of it this time around. She did include a swinging “Take Five” (Dave Brubeck, Iola Brubeck), which, with lyric becomes a vocalese standard, easily aced by Maye. And as per the original instrumental version, each musician had a robust solo to demonstrate solid chops.
Another swing tune came with “Over the Rainbow” (Harold Arlen, E.Y. Harburg), part of her established rainbow medley, which also includes “Look to the Rainbow” (Burton Lane, E.Y. Harburg), “Make Me Rainbows” (John Williams, Marilyn and Alan Bergman) and “Rainbow Connection” (Paul Williams, Kenneth Ascher). And looping back to the Ellington connection, Billy Strayhorn, who famously wrote the Ellington Orchestra theme song, “Take the A Train” and a basket full of other Ellington hits, began writing “Lush Life” when he was 16. It was a tune that was sacred to him and he never allowed anyone to sing it during his lifetime except his great love, Lena Horne. In Maye’s interpretation, all that Strayhorn could ever have hoped for was sublimely present. Brava.
In 1960, a promising jazz singer named Beverley Kenney, a contemporary of Maye’s, died tragically at age 28. Her joyous version of “It’s a Most Unusual Day” (Jimmy McHugh, Harold Adamson) with pianist Ellis Larkins, received tremendous airplay during Christmas 2021. Hearing that same uplift and jazz phrasing a la Maye was another connection to the living of life and the eternal flow of the creative spirit. Her interpretation was inspirational, and its place near the end of the set list was somewhat mystical and magical. Maye ended with her well known pairing of “The Secret O’ Life” (James Taylor) with “Here’s to Life” (Artie Butler, Phyllis Molinary). This coupling of tunes reveals her philosophy of life, and when she sings the lyric it’s with complete authenticity. So here’s to The Marvelous Marilyn Maye, for her amazing talent and the generosity of sowing her magic so unstintingly wherever she travels.
