By Marilyn Lester**** Vocalist-pianist Alexis Cole put aside the piano for an evening at the Beach Cafe, with a show entitled Canary in Combat Boots. This was the cabaret side of Cole, with a hint of her jazz persona peeking through. Relatively few singers can transition back and forth from jazz to popular styles and perform each equally well. Cole can, reminiscent of Sarah Vaughan. This was a Cole with a story to tell, and it was a unique one at that.
It so happened that in 2009 Cole had the chance to audition for the military, with the goal of working with the United States Army jazz band. It’s a big deal. (Note, from their web site: “Known as America’s Big Band, the Jazz Ambassadors are the premier touring jazz orchestra of the United States Army. Formed in 1969, this 19-piece ensemble has received critical acclaim throughout the United States and abroad performing America’s original art form, jazz.”). The Army offered Cole an opportunity to grow as a musician and as a person—but to achieve that end, nine weeks of grueling basic training had to be gone through. This experience formed the basis of her narrative and her set list.
Cole at the mic, sans piano, is a more intense version of herself as a jazz-piano artist. With the sublimely talented Tedd Firth on piano and bassist David Finck, Cole was freed to concentrate on singing. Her voice, with a rich port-wine lower register and a fairly wide range, is strong and clear, propelled by the kind of driving force notable in Judy Garland’s delivery. Her command of emotion is heightened too, making the the strong suit of cabaret Cole her storytelling ability. From a slow tempo “How Long Has This Been Going On” by George and Ira Gershwin to a fun delivery of the sly Arthur Schwartz-Frank Loesser tune, “They’re Either Too Old or Too Young” she scored on driving home just the right sentiment.
The delivery of Cole’s narrative was bright and naturalistic. It was overly long, but was saved by enthusiasm, intelligence and authenticity. Cleverness abounded, such as the observation that “Oklahoma was the Hamilton of 1943.” Still, working with a director may have allowed her to sharpen the text and keep it more concise. Fortunately though, this very personal story was utterly fascinating, aided by a few props and costume accents. Tying her experience into the songs popular during World War II also worked nicely. Two special guests added period spice: Heidi Clark, with a husky, velvety timbre, sang in 1940s style to “It’s Been a Long Long Time” (Jule Styne-Sammy Cahn) and the close harmony trio, the New York Nightingales sparkled and swung “Boogie Woogie Bugle Boy” (Don Raye-Hughie Prince).
Cole’s skill at interpreting the lyric is sublime. The story song, “Letters from War” by Mark Schultz and Cindy Morgan, a folk style tune, was intensely moving. Gene Sheer’s “American Anthem,” the last song Cole sang with the Army before her discharge in 2015, was heartfelt and communicated the patriotism deeply held by Cole. Her closing number was one that was delivered almost as a prayer. Her deliberate rendition of “Somewhere Over the Rainbow” (Harold Arlen-Yip Harburg) gave new meaning and freshness to a much-sung standard.
Alexis Cole as a cabaret performer can excel if she chooses to pursue this path. She’s equally talented in both genres—the free-wheeling music-focused world of jazz and the narrative-based arena of cabaret. Either way, she’s a performer who has a lot to give.
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