gary bartz rené marie nicole henry claudio roditi - Hot House Jazz

WINNING SPINSE'RE ACCUSTOMED TO HEA-Wring a certain repertoire from jazzvocalists. The classic American PopularSongbook, lyrics to jazz standards, theblues: they all fit with our image. The twosingers whose new albums comprise thisWinning Spins—René Marie and NicoleHenry—both expand their palettes beyondthe confines of jazz, embracing aspects ofcabaret, soul, R&B and pop-rock. In addition,both are tribute albums: Marie's honoringthe stage, film and cabaret iconEartha Kitt and Henry's paying homage tothe hit songs of the 1970s.I Wanna Be Evil: With Love to EarthaKitt, René Marie (Motéma) explores thesensuality and playfulness of Kitt's stagepersona with a jazz sensibility. Which isnot to say that Marie can't be just aswickedly seductive and sexy as Kitt, if notmore so. Her purring and bedroom moaningon "Oh, John" is definitely R—, if notX—rated. And her sultry come ons and blatantlysalacious whoops in "Come On-A MyHouse" are a far cry from RosemaryClooney's wholesome hit version, moreclosely suggesting pre-production codeMae West.Gene Krupa's "Sing Sing Sing" beat vieswith the big backbeat of burlesque on "IWanna Be Evil," Marie hinting at EthelMerman on the last chorus. Marie's oneoriginal, and the closing track, "Weekend,"is a steamy sex fantasy—shades of"Gray"?—told from the viewpoint of a frustratedwife alone for the weekend.But the album is a lot more than merelya big helping of sexiness, for then itwould just be a rehash of Sylvia or SergeGainsbourg. For one thing, Marie sharesthe spotlight here with some topflightmusicians, including her estimable trio,Experiment in Truth, led by pianist KevinBales. Also appearing intermittently,sometimes all together, are trumpeterEtienne Charles, reedman AdrianCunningham and trombonist WycliffeGordon. They all get off to a blazing starton the opener, "I'd Rather Be Burned As AWitch," at a furious swing tempo thatMarie negotiates with aplomb, even managingto stretch out the first syllable of"weave a spell" without losing momentumwhile Gordon more than keeps up the paceon his blistering solo.Cole Porter's "Let's Do It," usually doneas a coyly seductive ballad, is given a soulmakeover here, equipped with a bluesybass line and backbeat for Marie'sassertively sassy approach. All three hornsBy George Kanzlersolo on a Latin-tinged "Peel Me A Grape"and the clarinet weaves through a sexilysighing "C'est Si Bon." A muted trumpetadds to the seductively winking "SantaBaby," Marie playfully drawling and sensuallyextending "appreciative" to doubleentendrelengths. The singer says thatwhile recording "a wild banshee spirit possessedme." Hearing her, you'll agree.So Good, So Right, Nicole Henry Live(Banister), the singer's homage to some ofthe memorable voices and songs of the1970s, was recorded live at the nowdefunctManhattan cabaret clubFeinstein's at Loews Regency. She'sbacked by jazz stalwarts Kevin Hays,piano and Fender Rhodes; Adam Rogers,guitar; Vicente Archer, bass, and ClarencePenn, drums. The arrangements balancebetween tight pop origins and looser jazzinterpretations, while allowing some solospace for piano and guitar.Henry has a splendid and extremelyadaptable instrument; her chameleon-likevoice convincingly channels GladysKnight, Stephanie Mills and ArethaFranklin. After beginning "Neither One ofUs" with jazzy intimacy, she morphs intoKnight on the climactic chorus, right downto the trademark tremors. And onFranklin's "Spirit in the Dark," she takesus to church with a rousing finale, just likeAretha. Henry has an admirable commandof 1970s soul singing conventions, themelismas and pumping iron aspects ofsoaring vocals, using them to advantage onsuch numbers as Brenda Russell's titletrack, "Home" from "The Wiz" and TheCommodore's (not Anita Baker's samenamedhit) "Sweet Love." She finds bothjazz subtleties and passion in JamesTaylor's "Fire and Rain," brings a big beatsoul vibe to Joni Mitchell's "Big YellowTaxi" while still managing a hint ofMitchell's bright high tone and makes BobMarley's "Waiting in Vain" a post-moderntorch song.When Henry scales back from the soulwailing, her restraint is just as rewarding.The Elton John hit "Sorry Seems to Be theHardest Word" eschews histrionics,crooned with aching vulnerability withonly piano accompaniment. In short: hitsfrom the 1970s never sounded so good.René Marie debuts her tribute toEartha Kitt at Jazz Standard, Nov.21-24. Nicole Henry has a SundayBrunch Residency at the Blue Notethroughout November.10Roditi & Marie cover photos by Fran Kaufman