By Marilyn Lester***Wrapping up the three nights of the Mabel Mercer 34th Annual Cabaret Convention, As Time Goes By: Timeless Tunes delivered on the promise of classics of the American Songbook, sung by a top-drawer cast of cabaret and jazz artists. As is the custom, Mabel Mercer Foundation Artistic Director, KT Sullivan was the evening’s host. But this year, the start of the festivities was a little different. During the recent Covid era, Sullivan became a singing pianist, in the fine tradition of that craft. At the piano, she offered ““Hello Young Lovers.”
Several talented singer-pianists populated the show. Bryan Eng, who disclosed he’s been inspired by Frank Sinatra and Tom Jobim’s work together, sang “Change Partners,” revealing pianistic jazz chops of magnificent proportions. Jazz singer Nicole Zuraitis, who also only recently began accompanying herself at the keys, presented an 
exquisite “If Ever I Would Leave You;” Zuraitis was originally opera-trained and in singing the tune as a ballad, returned to those roots for a stunning delivery. Eric Yves Garcia has been of late playing at the 92nd Street Y in a program for elderly suffering dementia and memory loss. He related a touching story about one woman’s awakening with his rendition of “All The Way,” which, through this experience, changed the way he looked at the lyric of the tune. Another Eric, Comstock, a jazz-leaning artist, presented “Mam’selle.” With life and singing partner, Barbara Fasano, the pair offered “In The Still of The Night” and “As Long As I Live.”
One of the most popular and talented singing pianists on the scene is Billy Stritch, who was presented with this year’s Donald F. Smith Award (underwritten by Adela and Larry Elow) by pal, Klea Blackhurst. But first, with Ron Abel at the piano she sang “Satan’s Little Lamb.” Klea, in her own inimitable way, with enthusiasm, zest and encompassing warmth, spoke of 
her long friendship with Stritch and introduced him as the award recipient citing his many and astounding accomplishments. Stritch, graciously accepting, then took his place at the piano, doing what he does best—inhabiting the music he plays, with jazz chops and storytelling at peak; he also weaves in essential tidbits about what he’s playing, which was especially delightful and informative in his medley from Singin’ In The Rain.
Jazz singers were on the bill, adding delectable spice to the proceedings. Newcomer to New York (he’s Las Vegas-based) Jonathan Karrant, with Jon Weber at the piano, delivered a swinging, catchy “No Moon At All.” Alexis Cole, who served in the US Army (she did!) as an Army band singer and who’s established a soaring career as a civilian, sang “Come Back To Me” with John Weber, plus bassist David Finck and drummer Kenny Hassler. Wunderkind Anais Reno, now in college at SUNY Purchase, began a bluesy “Lover Man” a capella, with guitarist Sean Harkness and the evening’s house bassist and drummer, Ste
ve Doyle and Ray Marchica joining in.
Jon Weber, a mean jazz musician in his own right, was on hand to accompany many of the evening’s talent. Among them was another promising young ‘un, high school student and Sullivan family protégé, Lincoln Johnson, who presented the sweet ballad, “If.” Weber played for another young singer, Lizzie Buller, the latest winner of the Mercer Foundation’s Adela and Larry Elow High School singing competition. She sang “A Stranger Here Myself.” Brazilian Filo Sofia offered “A Day In The Life of A Fool,” by Luis Bonfa, for the 1959 film Black Orpheus. With its samba beat, Sofia revealed the smoky vocal quality that so many Brazilian singers possess. Crooners Todd Murray’s “Stardust” and Brit Gary Williams’ “Isn’t It A Lovely Day” were both warmly intimate and immensely satisfying. And then there was DIVA LaMarr adding zest to the evening with a frothy presentation of “Rose’s Turn/Broadway Baby.”
Another A-list pianist (make that A+), Ron Abel, was on hand to provide his always creative and exquisite arrangements for Ben Jones with “The Best Is Yet To Come” and Lianne Marie Dobbs with a dramtic rendition of “You’re Gonna Hear From Me,” including a quote from Michelle Obama’s book, Becoming. James Followell was on the keys for European-born Olivia Stevens, who told of her interest in and show about Nazi-era Swedish singer Zarah Leander. She sang a bilingual “I Know A Miracle Will Happen One Day.” Ian Herman accompanied Carole J. Bufford’s saucy “Put The Blame On Mame” and Josephine Sanges sang a torchy “My Man” with her longtime piano partner, John Cook, on the eighty eights.
It fell to the marvelous Aisha de Haas with Weber, Doyle and Marchica to sing us out and wrap op the show with the truly timeless and iconic “As Time Goes By” from the great classic film Casablanca. There was no cast gathering or goodnight encore—just the whimsical finale of a dancing KT Sullivan moving across the stage, wing-to-wing, speak-singing “Next year, next year!” And scene.
Photos by Maryann Lopinto
