By Marilyn Lester***More than a dozen years ago, Jasper Kump left behind a career as an entertainer in NYC and returned to California. There, he focused on education, attaining a Masters Degree in Social Work and setting up a practice. Fortunately for us on this Coast, Kump has decided to return, promoting his new CD, his first since 2005, and 
his new show, both titled The Best Is Yet to Come. We hope the best is yet to come; unheard here for too long, Kump, offered a sweet assured tenor and sparkling personality. His stage presence and ability to connect with his audience completed a package of entertainment that was heartfelt and uplifting.
The engaging set list varied nicely from old standards to new, with some very personal choices, such as Kump’s acknowledgement of childhood inspirations. From Fred Rogers’ “Won’t You Be My Neighbor?” to the Muppets in “Rainbow Connection” (Paul Williams, Kenny Ascher) and an endearing “Bein’ Green” (Joe Raposo), Kump entered full-throttle feel-good territory.
Kump can also swing and he’s good at it, with excellent jazz phrasing. Music director and pianist Russ Kassoff and the “RK Jazz Quartet,” provided excellent support, with Kassoff’s arrangements elevating the music to match Kump’s vocal style, working within a comfortable mid-range presentation. Kassoff, one of the most accomplished pianists in the
business, was joined by three other A-list musicians, bassist David Finck, percussionist Steve Singer and reed master Kurt Bacher, who applied soprano, alto or tenor sax, plus flute, to the various numbers. His flute playing on Kump’s own “Right Here, Right Now” added zesty flavor to the samba arrangement.
With Kassoff helming, there’s a guarantee of plenty of creative ideas in the mix of numbers. “The Best Is Yet to Come” (Cy Coleman, Carolyn Leigh) was an especial example of this ability, adding a slight syncopation to the melody, amongg other touches of artistry. While most of the arrangements were fresh and new, “Sunday in New York” (Peter Nero, Carroll Coates) leaned heavily on Nero’s styling for jazz vocalist Mel Tormé, who sang the song for the 1963 film of the same name. Kump’s rendition also featured a robust and inventive bass solo by Finck.
For a little variety, Kump brought on special guest, Rosalyn McClore, a singer-composer and pianist who rocked out a blues/R&B rendition of Nina Simone’s “Do I Move You.” McClore’s assertive and deep vocal tone was gutbucket robust, capturing the Simone essence, and oddly worked on sections of the tune in duet with Kump’s light tenor. With a wailing alto sax accompaniment by Bacher, the number proved a
highlight of the evening. Another high point was Kump’s tribute to Judy Garland (2022 is her centenary year) in “Come Rain or Come Shine” (Harold Arlen, Johnny Mercer). He announced it as an audacious effort, but needn’t have done so, since the result was a fresh take with a fast tempo, creative phrasing and drumming undertone by SInger.
Wrapping up an evening of great pleasure, Kump offered what he referred to as a “protest song:” “What More Can I Say” by William Finn, written for the 1990 sung-through, one-act play Falsettoland (book by James Lapine). Relating that this song was inspirational for him when he officially came out, Kump sang an intense and heartfelt rendition. It may be a chicken or egg situation, but clearly Jasper Kump the social worker/therapist and Jasper Kump the entertainer draw from the same well of kindness, love and empathy—all of these attributes brilliantly on display during his return to New York in The Best Is Yet to Come.
