Hilary Gardner & Ehud Asherie The Late Set

Hilary Gardner & Ehud Asherie
The Late Set
Anzic Records

I have not been to Mezzrow, the intimate Greenwich Village club but from what I understand about this small, listening jazz venue, the duo collaboration between vocalist Gardner and pianist Asherie sounds like the type of performance that is featured there. In fact, the credits include special thanks to Spike Wilner, Mitch Borden and Mezzrow, and the cover photographs were taken there.

This is a delightful, informal tour through the American songbook by the two with Gardner's, strong, tuneful alto, along with the clarity in enunciation matched by Asherie's nuanced, often restrained by deft, congenial accompaniment and solos. Another thing that stands out is the fact that the songs are not particularly well known songs except for "After You've Gone," and "Make Someone Happy."

The program opens with a couple of Al Dubin and Harry warren collaborations, "Shadow Waltz," and "Sweet and Slow." The former number opens with a stately piano chorus before Gardner starts her vocal, showcasing her nuanced phrasing and dynamics with a delightful, spare piano solo. It is followed by the unhurried,"Sweet and Slow," where she encourages her partner to take his time while the band is moaning low as Asherie is exquisite in his accompaniment with a late-night, bluesy feel.

After a wistful take on a lesser known Rodgers and Hart number, "A Ship Without a Sail," comes a remarkable rendition of a song going back to the twenties, "After You've Gone." This performance begins as a slow lament with light piano and plaintive vocal and then halfway through Asherie picks up the tempo and gives a propulsive accompaniment as Gardner sings defiantly about he will be the one suffering "after I've gone" with a superb stride piano solo.

"After You've Gone" is a performance that stands out on this mostly lovely program that also includes the cute "I've Never Seen Snow" from Harold Arlen and Truman Capote; the fetching rendition of Irving Berlin's "I Used to Be Color Blind"; the ebullient interpretation of Rodgers and Hart's "Everything I've Got"; the heartfelt, precious "Make Someone Happy"; and a captivating, reflective "Seems Like Old Times" (by John Jacob Loeb and Carmen Lombardo). Gardner's wonderful singing and Asherie's marvelous piano results in a delightful recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2018 Jazz & Blues Report (Issue 376). Here is a video of the two at Small's in New York City doing "Autumn in New York."

 

Duchess's Jazz Harmonies Shine on Self-Titled Album

Duchess is a New York based, all-women jazz vocal group featuring Amy Cervini, Hilary Gardner and Melissa Stylianou, singing in the "close harmony" style associated with groups such as the Boswell Sisters who have released an eponymously titled recording on Anzic Records. The recording was produced by by Oded Lev-Ari, who helmed previous Anzic releases by Cervini and Stylianou. The trio are supported by a band led by drummer Matt Wilson with pianist Michael Cabe, and bassist Paul Sikivie. Also making their presence felt are saxophonist Jeff Lederer and guitarist Jesse Lewis.

The songs included range from a Peggy Lee number "I Love Being Here With You", Johnny Mercer's "P.S. I Love You" a playful Gershwin rarity with "Blah, Blah, Blah" and a direct Boswell Sisters homage with their arrangement of "Heebie Jeebies." The trio provide new twists on "Que Sera, Sera" and the standard "I'll Be Seeing You." Each gets a solo spot with "My Brooklyn Love Song" (Hilary), "A Doodlin' Song" (Amy) and "Humming to Myself" (Melissa). While occasionally they focus on the ballad side of the material, often the performances are flirty and playful with the backing band providing solid swing and saxophonist Lederer and guitarist Lewis adding marvelous solos.

Peggy Lee's "Love Being Here With You" opens with its bouncy perkiness, marvelous harmonies as they personalize the lyrics as they promise to swing this joint tonight before Lederer rips off a solo. They trade lead vocals and mix harmonies of "There Ain't No Sweet Man That's Worth the Salt of My Tears," which sounds like an updating of a classic blues with sharp solos from Lewis and pianist Michael Cabe. Doris Day would approve the lovely rendition of "Que Sera, Sera," while Amy Cervini is perky with her colleagues adding to the perkiness of "A Doodlin' Song," with harmony backing and spoken asides with some tough tenor sax complimenting the light-hearted singing.

Wilson second line groove provides the primary backing for the lively reworking of the Chordettes hit "Lollipop," with a lively tenor sax-drum duo break in the middle. "It's a Man" with its lyrics warning women of a two-legged animal, sports some honking sax. The perky, lively harmonies of "Heebie Jeebies" closes a delightful and enchanting recording that may not be the deepest side of blues, but sure is full of serious fun.

I received my review copy from a publicist. This review appeared in slightly different form in the November-December 2015 Jazz & Blues Report (Issue 363). Here is Duchess performing "I Love Being Here With You."