By Marilyn Lester***At the newly reopened Iridium Jazz Club—shuttered since the pandemic struck in March 2020—the happiness at having the club back was sent off the scales by the ever-joyful Benny Benack III. In the tradition of singing trumpeters, such as Louis Armstrong, Herb Alpert, Chet Baker and Louis Prima, 
whom Benack referenced in his opening number, “When You’re Smiling” (Larry Shay, Mark Fisher, Joe Goodwin), it was all about the showmanship of singing, swinging and feeling good. But that’s the Benack style; he’s not only hugely musically gifted, but charming and loquacious and one-hundred-percent real.
With his amazing trio of players, the extra-long set was infused with maximum talent from each, all leaders in their own right. Pianist Mathis Picard offered consistently warm playing full of spirit. In his piano solo of Willie (The Lion) Smith’s “Cuttin’ Out,” Picard also wowed with technical skills in his inspired stride delivery. Drummer Joe Peri anchored the group with perfect rhythmic sensibilities, and singing bassist Russell Hall proved far more than time-keeping backup for frontman Benack. During a jazz-rock delivery of “American Woman” (Jim Kale, Burton Cummings, Garry Peterson, Randy Bachman), a 1970 hit for the Guess Who, Hall let loose with a range of techniques that utilized every part of the upright. He’s one of that class of bassist who sees “out of the box,” sometimes imagining the instrument as a giant guitar.
Much of the set was devoted to Benack-composed work. The thread binding them was a sense of evocation—he’s especially adept at setting mood and tone. In his “Twightlight Blue,” a tune written with a pandemic theme in mind, this blues was rich in calling up emotion about an unsettled time. 
His passion for his electric scooter, memorialized in “Scooting” was a musical trip through New York City traffic with all the feels of speed and exhilaration. These originals, without lyric, not only showcased Benack’s technical skills, but pointed to his approach—in original compositions and standards—as a melodist, which is not to say he’s not a terrific improvisationalist. He’s that too, with an overall tone that’s clear and bright; Miles Davis comes readily to mind.
“It’s Not Unusual” ( Les Reed and Gordon Mills) was a highlight, arranged in reggae tempo, with Benack scatting—a strong suit of his (along with vocalese, not featured in this particular set). The closing number was a swinging all-hands-on-deck rendition of the standard “East of the Sun(and West of the Moon)” (Brooks Bowman). The quartet was joined by Benack friend and colleague, Aussie trumpeter James Sarno. What a delight to end a fabulous set of jazz, standards and originals, with a toe-tapping, happy-making classic jam.
Photos: Shelli Wolford
