The acclaimed
Manhattan Transfer vocalist has always been the one member of the legendary, multiple-Grammy winning group who has been most willing to explore deeper artistic leanings on her solo projects. Here, she offers a restrained counterpoint to
Barbra Streisand's more dramatic approach to classics from our favorite musicals, succeeding mostly by picking lesser-known tunes that haven't worn out their welcomes, and interacting with a stellar jazz cast and the witty arrangements of
Gil Goldstein. On the opening track, "Show Me," her vocals glide soulfully over
John Patitucci's bass and
Stefon Harris' vibes before the pace picks up,
Siegel's phrasing ebbs and flows beautifully and wildly, and the story becomes a little more energetic with its telling.
Transfer fans don't have to wait long for their diva to harmonize, this time with herself on the subtle vocal textures in spots on the softhearted, mystical arrangement of "Sorry Grateful" (from
Sondheim's Company. . .In Jazz). That vibe of mystery continues on
Arlen and
Mercer's provocative "It's a Woman's Prerogative," which again allows ample space for
Siegel to explore the deeper emotional subtleties.
Harris' vibes are purely hypnotic here.
Siegel clearly loves telling stories even the hardcore Broadway fan is less familiar with, reminding us of musicals like Follies ("The Story of Lucy and Jessie") and The Littlest Revue ("Born Too Late"), all of which allow her to be equally goofy, poignant, and ironic. The showstopper "Sun in the Morning" finds
Siegel fully engaged over a heavier
Antonio Sanchez drumbeat and the rock-edged guitar of
Romero Lubambo. All of this only scratches the surface of the tremendously rich artistry
Siegel demonstrates here as she mines classics and obscure songs that touch both her heart and wit. Hopefully, she, like
Streisand, will come back to Broadway in the future. ~ Jonathan Widran