Tag Archives: Marco Panascia

TRUE TO LIFE: MARIANNE SOLIVAN at IRIDIUM (May 22, 2012)

Marianne Solivan is not only an affecting singer but an affecting artist.  I know that her approach to the audience and to her songs — so candid, so deep — is the result of hard work at her craft — but she makes it seem new, fresh, unstudied.  She isn’t “acting,” but exploring, finding her way through the notes and pauses, the facts of the words and the sweep of the music — to create something moving in each phrase.

Even on songs that I have heard for thirty years or more (I’LL NEVER BE THE SAME is one example) Marianne manages to strip away the accretions of familiar expectations to reveal the heart of the music living underneath.  Her candor is remarkable, as she balances power and delicacy, performing without seeming to perform.  Her music is intense but never melodramatic, and she takes us with her.

She proved this once again at Iridium on May 22, 2012, with three special players — each one a poetic sound-painter — who accompanied her on her quests: the pianist Michael Kanan, bassist Marco Panascia, and drummer Michael Petrosino.

The hour-long set made me think, not for the first time, “It is a privilege to hear these musicians.”  I hope you feel the same way!

You’ll have to take this one on faith, but it’s absolutely true.  Marianne and the band decided, wisely, to do a sound check before beginning their performance.  She alerted the audience and the band embarked on a brief LOVE WALKED IN.  When it was over, the crowd at the Iridium applauded.  Not noisily, as at a rock concert, but with real appreciation.  They knew what was happening onstage!

Marianne began with a puckish Declaration of Independence, smiling all the way through, I CAN’T HELP IT (she says she likes the lyrics, and no wonder):

Marianne often begins her sets with IN LOVE IN VAIN — one of the darkest songs I know, and that is including GLOOMY SUNDAY — but she takes it into a brisk medium tempo, somewhat undercutting the sadness.  Although I’ve heard her perform it more than a half-dozen times, each version is new and affecting:

I hadn’t heard Marianne perform I’LL NEVER BE THE SAME . . . but I admire so how she sidesteps the Holiday trap: that is, the temptation to meow and slither as  Billie did so memorably.  This performance, like every other Solivan exploration I know, is all hers:

Another song with a somber title, THE LONELY ONES, a rare Ellington-Duke Jordan (!) collaboration, makes Marianne sing it with perverse enthusiasm and delight . . . if it weren’t such a cliche, I would write that she has a twinkle in her eye.  Perhaps a permanent gleam?

Without trying hard or showing off how hard she’s working, Marianne makes even the most familiar songs shine — we hear them for the first time.  For me, PRISONER OF LOVE summons up Lester Young – Teddy Wilson and Russ Columbo (in that order).  But I have added Marianne’s approach to that pantheon:

I would bet that Michael Kanan, that conoisseur of rare beautiful music, brought MOON RAY to everyone’s attention — it’s one of the unusual tunes written by Artie Shaw, and the band does it beautifully:

Forthright and heartfelt — I WISH I DIDN’T LOVE YOU SO:

What other singer would fuse Alec Wilder’s MOON AND SAND and the somewhat obscure French IF YOU GO?

Another moving experience — watching these four musicians proceed bravely through the possibly over-familiar MORE THAN YOU KNOW — making it fresh at every turn:

What Marianne calls “their hit,” the elusive sweet-sour GUESS I’LL HANG MY TEARS OUT TO DRY . . . is it an affirmation or a despairing resignation or both?  You decide:

And — to close — an exultant DAY IN, DAY OUT:

I haven’t said anything about Michael Kanan, Marco Panascia, and Michael Petrosino.  What do you say about beautifully intuitive players who know when you whisper and when to propel, who know how to blend and support, who make just the right impressionistic clouds of sound throughout an evening?  Why can’t all accompanists be this wise, this brave, this subtle?  Their generosity to Marianne, to the music, and to us, was heartening.

May your happiness increase.

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EXPRESSIVE MUSIC (on SHORT NOTICE): MARIANNE SOLIVAN at IRIDIUM, May 22, 2012

I know that some of my readers already have plans for tomorrow evening (that’s Tuesday, May 22, 2012) at 10 PM.  And others might be out of range.  I hope it’s neither presumptuous nor too late to urge you towards a New York City jazz club . . . but I wouldn’t want anyone to miss an opportunity to be uplifted.

That soulfully pensive woman is Marianne Solivan.  In a short time, she’s become one of my favorite singers.  She doesn’t follow routines; she doesn’t “dramatize”; she doesn’t “innovate.”

What she does is more difficult and more valuable: she gives us her heart and craft in every measure, digging deep into each song to share its truths and beauties (and often its sadness) with us.

And tomorrow night she is going to be singing at Iridium with a peerless trio led by pianist Michael Kanan, a generous, heartfelt player who makes everyone around him sound splendid.  Providing intuitive accompaniment will be sound-painters Marco Panascia and Michael Petrosino, both of whom have impressed me substantially in person.

The Iridium is located at 1650 Broadway, at 51st Street.  You can make reservations by calling 212.582.2121. or by visiting  here.

In case you haven’t been transfixed by what Marianne and Michael can do, here is a deep example — their duet on HOW DEEP IS THE OCEAN, recorded at Michael’s “The Drawing Room” on March 24, 2012:

And here‘s Marianne’s website . . . where she has a brand-new CD, PRISONER OF LOVE, on display!

May your happiness increase.

LOVE LETTERS: MARIANNE SOLIVAN and MICHAEL KANAN at THE DRAWING ROOM (March 24, 2012)

The love letter (not an emoticon or a tweet) can carry many messages.

I adore you.  I wish you were mine.  Thank you, my dear one.  Come run away with me, my Prize!  Why don’t you write to me?  What happened?  I have found another.  Why did you break my heart?  Will you come back to me?  Remember our moments together?  I miss you so.

Singer Marianne Solivan and pianist Michael Kanan know all about love — in human form and in the song.  They’re not a couple, but it’s clear from the way they play that they have depths of emotion to share with us.  The results are subtle and memorable.  Marianne and Michael know music’s power to move us to tears and to make us feel lighter-than-air, as well as its tragicomic bitter-sweetness: when we hear a sad song and think, “Oh, that is so beautiful!” while we are feeling the sadness.

They are poets, improvising their poems as they go.  They ask deep questions of us through music, and the answers they offer aren’t easy or monochromatic — each time we listen, the answers shift slightly in the light.  They move through each song experimentally, considering it a new experience, testing its limits, sounding its depths.

Their art, at once strong and delicate, asks only that we give ourselves to it wholly — no multitasking, please.  In admiration, I will stand out of its way, for it would be wrong to offer commentaries.

What follows is my video-recording of a spiritually intense evening at Michael’s Brooklyn studio, The Drawing Room (70 Willoughby Street).  It was a privilege to be there and an honor to be allowed to share it with you.

Jerome Kern’s mournful IN LOVE IN VAIN, with a surprise concealed inside:

A joyous, sideways look at the Rodgers and Hart THERE’S A SMALL HOTEL: where is this hotel?  We want to book rooms there, too:

I COVER THE WATERFRONT (with the lovely dark verse):

The wistful I CAN DREAM, CAN’T I?:

LET’S GET LOST:

I DON’T WANT TO CRY ANYMORE:

TOO CLOSE FOR COMFORT:

HAUNTED HEART (interpolating LOVE LETTERS):

Berlin’s magically buoyant ISN’T THIS A LOVELY DAY?

MORE THAN YOU KNOW:

BILLY STRAYHORN Medley (STAR-CROSSED LOVERS / A FLOWER IS A LOVESOME THING / PASSION FLOWER):

Theme music for timid arsonists: I DON’T WANT TO SET THE WORLD ON FIRE:

The wrenching I GUESS I’LL HANG MY TEARS OUT TO DRY:

Grammarians point out that I ONLY HAVE EYES FOR YOU should correctly be I HAVE EYES ONLY FOR YOU, but grammarians don’t usually write memorable songs.  I always think of this song in connection with Lester Young, who said of something he approved of that he had “big eyes for that”:

Berlin’s series of devoted questions to be addressed to the Beloved, HOW DEEP IS THE OCEAN:

Michael and Marianne are both marvelously capable of emotional and artistic magic on their own.  I have been publicizing the very moving events at The Drawing Room, and you can also visit Marianne’s website here.  When you visit her site, you will hear the strains of Marianne and Michael exploring I WISH I KNEW — from Marianne’s new CD, PRISONER OF LOVE.

They will be appearing on April 19, 2012, at Smalls (183 West 10th Street, Greenwich Village, New York) from 10 PM to 12:30 AM, with bassist Marco Panascia and drummer Jerome Jennings.

For the love of music: love letters from Marianne and Michael, straight from their hearts.

May your happiness increase.