By Andrew Poretz***The jazz trio Scales, Grasso and Flanagan celebrated the release of their recent, excellent debut album, Many Rivers, in a swinging and satisfying set at 54 Below . The trio: vocalist and composer Lauren Scales, pianist Chris Grasso and alto saxophonist Mike Flanagan, were suppo
rted by the addition of bassist Luques Curtis and drummer Richie Barshay (both of whom appear on the album). All seven numbers from the album were played, though in different order.
The appropriately named Scales is from Detroit, steeped in jazz and R&B: her parents, Charles and Gwen Scales (who proudly claimed to have taught her daughter “everything she knows”), are both jazz musicians. Scales and Flanagan shared center stage for the entire concert, which fit in with the description of the show as a “fully democratic trio-led debut.”
The set opened with “You Know Who (I Mean You)” (Thelonious Monk, Coleman Hawkins, Jon Hendricks), with Scales’ scat matching Flanagan’s sax, note for note. It was immediately evident that this is a 
tight band with a great sound. Scales’ fabulous voice is rich, resonant and rather pliant, with an exceptional range. Flanagan’s sax tones are gorgeous, with something of a Paul Desmond vibe, and with impeccable phrasing reminiscent of Cannonball Adderly.
On “Spanish Joint” (Michael Archer D’Angelo, Roy A. Hargrove), Flanagan’s excellent tone and technique made this number really sing. Barshay’s Latin-tinged syncopations were complex and accurate; a call and response between the sax and bass ended the piece. Scales slowed things down with an original romantic ballad, “Find a Way,” dedicated to her husband Matthew. The spare arrangement had surprisingly effective percussion that added a sexual tension. The exciting “Star Eyes” (Gene de Paul
, Don Raye) was largely an instrumental, with Scales providing scat obligatos as if she were an instrumentalist. Both Grasso, pianistically jolting the audience, and Curtis, provided excellent solo work, with Flanagan on fire. A scat and sax call- and-response between Scales and Grasso was especially effective and gratifying.
Scales started “But Beautiful” (Jimmy Van Heusen, Johnny Burke) with a few rubato phrases before reaching the title, then, with an R&B feel, performed a very slow and sensuous reading of the lyrics. This might not be a song one would normally describe as “hot,” but it was certainly hot here. The major highlight of the evening was “Many Rivers to Cross” (Jimmy Cliff), which inspired the album’s title, and was Grasso’s choice. At first, it 
appeared to be an instrumental, before Scales worked her way into the piece with a very soulful vocal. The musical chemistry between Scales and Flanagan was joyous and delightful, while Grasso helped take the number “through the roof,” and the audience responded in kind as the number reached gospel intensity. By the end of the tune, one could imagine Simon Cowell gasping in astonishment as if this were “America’s Got Talent.”
Scales, Grasso and Flanagan perform as if they’ve played together for years and somehow slipped past us unnoticed without attention. This speaks to how cohesive they are. Their musicianship is first rate, with great song choices and a warm rapport with the audience. Their set left us hungry for more.
