The Everett and Cascade symphony orchestras concluded their seasons on successive nights in swinging style with concerts that featured fabulous jazz vocalists interpreting pop standards with impeccable phrasing of music and lyrics.
The Everett Symphony welcomed back Spider Saloff, who wowed the crowd two years ago performing Gershwin standards. At Friday’s show, the subject was Cole Porter. Saloff, who performs in jazz clubs around the country, is the five-time recipient of the Manhattan Association of Cabarets award and co-creator of the PBS program “Words and Music.” Returning with her was pianist Tony Monte, who in his distinguished career has accompanied such legends as Judy Garland. Joining Saloff this year was acclaimed tenor saxophonist Harry Allen, whom critics have likened to Stan Getz.
After performing a medley that swung from the jazzy “Just One of Those Things” to the more sentimental “True Love,” a smiling Maestro Paul-Elliott Cobbs brought on Saloff, dressed in a sassy red evening gown, who charmed folks with her wit and exquisite musicianship.
Saloff spoke of how Porter emerged as a playboy in the ’20s. One of his first big hits from that era, “Let’s Misbehave,” described his life, she said. She enunciated that tune with Jazz Age mannerisms, belting out phrases with a Dixieland-inspired, Satchmo-esque tone and rhythm.
The orchestra came back from its break with another medley that was highlighted by Concertmaster Fred Chu’s tender violin in “Love for Sale.”
Saloff, in a brown velvet dress and amber-tone shawl that complemented her red hair, turned to one of Porter’s more vulnerable ballads, “Weren’t We Fools?” written in 1927 for Fanny Brice in the Ziegfeld Follies. She also gave rapturous interpretation to her personal favorite, “Every Time We Say Goodbye,” then soared into “Just One of Those Things,” ending on an electrifying high note that nearly rattled the roof and had folks fired up in their seats. Encores included “I’ve Got You Under My Skin” and “Anything Goes.”
At Saturday’s “Cascade Goes Pops” concert, the Cascade Symphony welcomed the Seattle Jazz Singers and the Uptown Lowdown Jazz Band for some rousing selections.
The CSO opened with Aaron Copland’s stirring “Fanfare for the Common Man” and John Williams’ “Star Wars” medley. Maestro Michael Miropolsky noted Copland’s work, written in 1943, set out to honor heroes on the home front.
The Seattle Jazz Singers, mostly former members of the acclaimed Edmonds Community College jazz choir Soundsation, were assembled by founder and former director Frank DeMiero. The eight voices (sopranos Kelly Esvelt and Chris Distad; altos Heather Moll and Deborah Swanby; tenors Nich Anderson and Craig Swanby; and basses Nathan Lansing and Joey Hernandez) were accompanied by Michael Stegner on piano, Louis Uriu on bass, Ben St. John on drums, Gabriel DeMiero on tenor sax, Scott Bachler on alto sax and Assistant Director Ken Kraintz on trumpet.
This highly personable ensemble romped through a set that included “Georgia,” “You Stepped Out of a Dream” and “Can’t Buy Me Love.” The singers performed tight arrangements of sassy scat singing and complex harmonies and did so flawlessly, like pilots flying in formation, each dependent on the other.
The CSO joined the jazz ensemble for a beautiful medley from the George Gershwin opera “Porgy and Bess.” Trumpets were highlighted during “Summertime,” and Joey Hernandez was strong in “It Ain’t Necessarily So,” as was the piano in “I Loves You Porgy.” The collaboration ended with a spine-tingling rendition of “I’m On My Way.”
The Uptown Lowdown Jazz Band delivered their brand of New Orleans flavor and Dixieland style in “Lady Be Good.” There was some sentimental piano work on “Saint Louis Blues,” and a faithfulness to the Fats Waller sound in the marvelous “Digga Digga Do” and “Ain’t Misbehavin’.” The audience hooted for them following the finale, “Dinah.”
The far-ranging program also worked in a refreshing medley from “My Fair Lady” performed by the symphony, which saw Miropolsky strutting at the podium as his orchestra played “I’m Getting Married in the Morning”
All three groups combined forces for the spirited finale, “When the Saints Go Marchin’ In.” The crowd-pleasing number started as a dirge, sounding like a New Orleans street funeral procession, then cranked into high gear with drum work that was particularly fabulous.
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