By Andrew Poretz***Los Angeles-based singer of note, Judy Wexler, a Billboard and JazzWeek charting jazz vocalist, named by JazzTimes as “one of the most compelling jazz vocalists on the West Coast,” made her 54 Below debut in late April with a late-set slot.
Accompanied by pianist Jim Ridl, bassist Bill Moring and drummer Tim Horner, Wexler presented an interesting mix of standards, not-quite standards and what might be called “hip” standards. The diminutive Wexler has a pleasant voice and demeanor, and set up many of her songs with personal stories. She seemed tentative at first, finding her footing as the set went on.
A lovely arrangement of “That Face” (Lew Spence, Alan and Marilyn Bergman) opened the set, followed by “They Say It’s Spring” (Marty Clarke, Bob Haymes), which offered a “late night jazz” chart vibe, including prime piano and bass solos. Some interesting and satisfying choices included “Wish You Were Here” (Harold Rome) from the 1952 Broadway show of the same name, about a summer camp for adults (the set had an actual, functional swimming pool!). From the musical, Sunset Boulevard (which premiered in the West End and in Los Angeles before opening on Broadway in 1994), Wexler sang “Too Much in Love to Care” (Andrew Lloyd Webber, Don Black and Christopher Hampton), originally a second act trio.
Wexler’s charming origin story of her 48-year relationship with her husband, Alan, which started with a glass of wine and a kiss on the roof of the San Francisco apartment building they lived in, was a lovely setup for “Up On the Roof” (Carole King, Gerry Goffin). A surprise highlight was “It’s You I Like” by Fred Rogers: yes, the Fred Roger of “Mister Rogers’ Neighborhood” fame. It turns out he was something of a jazz cat when he wasn’t hosting his legendary children’s show. Wexler opened the tune with just Ridl’s piano, eventually swinging it with the trio—which proved to be both charming and surprisingly effective, in a very Blossom Dearie-like way.
The jazziest choice of the evening was King Pleasure’s “Tomorrow Is Another Day,” perhaps the most effective number of the set, with the singer at her strongest. It seems Wexler might well have had some “debut jitters” at 54 Below, resulting in a certain lack of “oomph,” but she’s a pleasing singer, and though she did have a bit of whine in her voice at times, she received excellent support from her trio.
Photos by Andrew Poretz
