The Mabel Mercer Foundation Cabaret Convention has proceeded onward for 32 years now, even in spite of a pandemic. The traditional series of live events were quashed in 2020, but in true show business tradition, the show went on virtually. This year, the 2021 edition was live on Wednesday, October 27; and if only for one night, those in attendance in Rose Hall at Jazz at Lincoln Center, were as thrilled to be in the sold-out audience as were the 21 performers who were finally on stage again. Themed, The Melody Lingers On: A Gala Tribute to the Songs of Irving Berlin, the mood was celebratory, the air full of exhilaration.
The driving force of the Mabel Mercer Foundation (MMF), Artistic Director KT Sullivan, couldn’t be present due to pressing family matters, but her right arm, Managing Director Rick Meadows, provided a warm welcome. Jeff Harnar, a long-time favorite and an anchor of MMF, took over hosting duties, a role he’s no stranger to. And thus, the star-studded evening capped off three nights of convening. Two were, of course, virtual. Both were hosted by irrepressible vocalist Natalie Douglas.
Virtual night one, entitled, Love Is Sweeping the Country, was quite literal. Twenty three performers located in venues around the US streamed their love in song for viewers tuning in from locales far and near. During this evening, cabaret couple, singer-pianist Eric Comstock and vocalist Barbara Fasano, received the Donald F. Smith Award. The Julie Wilson Award and the Mabel Mercer Award went to David LaMarr and Karen Akers respectively, presented onstage on night three. All three awards bore citations written by MMF scribe John Fricke. Virtual night two, The Future of Cabaret, was dedicated to six young singers who’d been winners and finalists in the annual Adela and Larry Elow American Songbook High School Competition, established in 2018, which was virtual this year as it was in 2020.
Theming this year’s mainstage event The Memory Lingers On was beyond appropriate after 18 months of lockdown amidst a worldwide pandemic. Songwriter Irving Berlin (1888-1989), a major contributor of the Great American Songbook, added about 1,500 songs to it. For more than six decades, through two World Wars, Depression and so much more, Berlin and his songs defined so much of what America stands for. At his 100th birthday tribute, famed journalist Walter Cronkite said, he “helped write the story of this country, capturing the best of who we are and the dreams that shape our lives.” Berlin’s songs provided comfort and hope. They also gave joy and jubilation in happy times—and they still do. Who better to choose as a guiding force in a bittersweet evening of celebration—one that acknowledged the trauma of what we’ve been through as well as the possibilities of what remains ahead.
As for performances—they were delightful each in their own way. Many stalwarts sang tribute to the man of the hour, Mr. Berlin: Christine Andreas (“I Got Lost in His Arms”), Jeff Harnar (“Steppin’ Out/Puttin’ on the Ritz/Let Yourself Go”), Andrea Marcovicci (“What’ll I Do/Say It Isn’t So”) and opening the show, Sandy Stewart with son, jazz pianist Bill Charlap (“Always”). A trio of Karens individually sang Berlin standbys and lesser-known numbers: Karen Akers (“Russian Lullaby”), Karen Mason (“How Deep is the Ocean”) and Karen Oberlin (“Pack Up Your Sins”). Singing pianists Eric Yves Garcia (“It’s a Lovely Day”), Steve Ross (“Let Me Sing and I’m Happy/All By Myself”), Billy Stritch (Let’s Face the Music and Dance”) and Mark Nadler (the unpublished “Me and My Piano/I Love a Piano”) held court. And there were many more dependable cabaret artists who have been no strangers to the MMF Convention. Jon Weber was the core pianist of the evening, with Steve Doyle on bass and Ray Marchica on drums. Alex Rybeck, Tracy Stark, Darnell White, Mark Hummel and Michael Rice also provided accompaniment on the eighty eights.
What was most delightful, though, was the much-needed infusion of talent of color and a nod to jazz. Over the many years of the MMF Cabaret Convention, mirroring the times, the enterprise has been populated with mostly white singers, singing the tunes of white songwriters.
We are, however, in a new day. The BLM and BIPOC movements have created an awareness that so much “whiteness” must necessarily be corrected with full acknowledgement to talent of color. The evolution of cabaret itself has seen an intermixing of what used to be the standard—a popular/Broadway singing style—with jazz artists who’ve migrated to that stage.
It was thus a tremendous uplift to hear Nicolas King deliver a very jazzy “Shakin’ the Blues Away.” Natalie Douglas, a steady advocate of parity and an amazing talent offered “You Can Have Him,” while David LaMarr delighted with “Blue Skies/Sittin’ in the Sun.” The singing triplets, The Moipei Sisters, originally from Kenya, offered “I Got the Sun in the Morning/Count Your Blessings” and the dynamic Aisha de Haas sang an inspired “Harlem on My Mind.” These voices added spark to The Melody Lingers On.
There is hope that future MMF Cabaret Conventions will lead the way in showcasing more jazz talent and talent of color—plus featuring the songbook standards written by composers and lyricists of color, such as Duke Ellington, Billy Strayhorn and Fats Waller (and many more).
It’s time. Let’s continue the discussion on how we can move forward.
The Editors of NiteLife Exchange
Photos by Maryann Lopinto
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