KCMETROPOLIS.org
Kansas City's Online Journal of the Performing Arts

This year’s Folly Jazz Series' annual Spotlight concert, this year also a benefit for the Ali Kemp Foundation, featured DownBeat’s 2010 Rising Star recipient vocalist Sachal Vasandani in his Kansas City debut. Accompanied by pianist Jeb Patton, bassist Josh Ginsburg and Justin Brown on drums, Vasandani entertained the audience of nearly 400 with his interpretations of standards, contemporary pop tunes, and a few of his own compositions.

Vasandani maintained a smooth straight-ahead sound, even on contemporary songs such as his opening “Love is a Losing Game” by Amy Winehouse and the loungy R&B tune “Say You’ll Go” by New York singer/songwriter Janelle Monáe. Songs like these reveal his interest in current pop and enjoyment in fusing styles.

Vasandani’s silky tenor voice is deep and calm—reminiscent of the old-school classic male jazz singers of the mid twentieth century. His admiration for Frank Sinatra was particularly evident, with a vocal tone and overall sound similar to Sinatra’s. Several songs covered by Old Blue Eyes were on the program, including the tender “I See Your Face before Me” and “There are Such Things” from the 1930s which featured Brown hand-drumming on the former and a subtle, yet rock-like, solo on the latter.

An affinity for Latin rhythms was displayed with Vasandani’s treatment of “The Very Thought of You,” the Brazilian “My Dear” and Portuguese “I was Just One More for You” (all sung in English). Robert Johnson’s “From Four ‘til Late” and a bluesy version of Rodgers and Hart Broadway song “Little Girl Blue” allowed bassist Ginsburg and pianist Patton to shine with stylistic and concentrated, lively solos.

Jazz standards “The Very Thought of You,” Nina Simone’s dreamy “That’s All I Want from You” and Ellington’s “Just Squeeze Me (But Please Don’t Tease Me)” were definitely highlights as they were performed with respect for the original but added Vasandani’s youthful spin. Thelonious Monk’s “Monk’s Dream,” which Vasandani dedicated to jazz saxophonist James Moody who passed away a day earlier, was a favorite of mine on the set. Patton and Ginsburg had their best solos of the night and Vasandani nimbly handled the awkward wide melodic intervals.

In addition to tried and true classics, Vasandani also offered original compositions from both his albums, Eyes Wide Open and We Move. “No More,” “Please Mr. Ogilvy” and “Send ‘em Up to Heaven” were all spirited and glimpsed at the thoughts of a young singer/songwriter trying to make it in the big city. Vasandani has a talent for creating new songs that fit comfortably with the standard jazz repertoire.

Although Vasandani embellished melody lines well, he truly scatted only briefly on one or two songs and I would have loved to hear more. Every piece on the program was mid-tempo, however his excellent voice with good intonation, clear tone, and even sustain with minimal vibrato made the lack of tempo variation ultimately forgivable. Unfortunately there may have been some microphone issues as well, as occasionally Vasandani’s visible singing was inaudible.

Vasandani is a welcome addition to the small popularly known slew of young male jazz singers, and he clearly understands and deeply respects the traditions and history of jazz. His warm stage presence and friendly, endearingly goofy personality made songs like “I’ll be Home for Christmas” (dedicated to his mother) and “Goin’ to Kansas City” (Vasandani admitted) cheesy yet appropriate and fun. His bluesy, soulful, gritty, high-energy rendition of “Kansas City” might be the best I have heard in my near-decade here.

REVIEW:
Folly Jazz Series
Sachal Vasandani Quartet
Friday, December 10, 2010
Folly Theater
12^th and Central, Kansas City, MO
For more information visit http://follytheater.org

Top Photo by Andrzej Pilarczyk

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.