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

The Heartland Men’s Chorus pulled out all the stops for their 25^th-anniversary season opening concert with guest vocalist Ann Hampton Callaway last Saturday evening at the Folly Theater. The festive spirit was palpable as concertgoers packed liked sardines into the lobby, dressed to the nines in tuxedos and evening gowns, eagerly anticipating the show and the following glitzy “Dinner of Note.”

Backed by a trio of piano, bass, and drums, Ann Hampton Callaway opened her set with the up-tempo, energetic “The Glory of Love,” immediately displaying her rich alto range and depth of tone. Comfortable and quick-witted onstage, she had an easy rapport with the audience, telling jokes and dropping one-liners without missing a beat (“I woke up at 4 a.m.—8 hours before diva o’clock,” “My father always told me to keep my gin up”). While not always perfectly in tune and a little breathy at times in her high register, Callaway’s brazen sense of humor and fun made such imperfections forgivable.

Callaway continued with uncanny impressions of some of her inspirations, jazz legends Billie Holiday and Sarah Vaughan (her extreme interval leap during her Vaughan impression was particularly notable). Her short biographical anecdote introduced the first original tune, “I’m Too White to Sing the Blues Blues.” The lyrics were humorous, however Callaway’s imitation of a trumpet and saxophone were not. While she did vocally reproduce the timbre of the instruments, her physical miming was a bit awkward. I would rather have heard her scat a chorus.

Her “finest work to date” (according to her accountant) is the theme song for the television show The Nanny, one of many songs she has written and performed for TV. The audience was excited to hear this tune, singing along, which prompted another uncanny impression of actor Fran Drescher. The most interesting story of the night accompanied “Come Rain or Come Shine”—Callaway’s experience recording the song for Robert DeNiro’s film The Good Shepherd.

“Old Friend” and “Somewhere Over the Rainbow” were the slow tearjerkers of the set. A definite highlight, Callaway sang the original, complete introduction to “Somewhere Over the Rainbow” a cappella, with great intonation, sensitivity, and emotion, drawing cheers from the audience at its conclusion.

Next, Callaway involved the audience in a sort of improvisatory “mad libs” song, asking them to shout out words about Kansas City, which she then included in an on-the-spot “Kansas City Love Song.” Barbeque, Oklahoma Joe’s, the Royals, fountains, jazz, and even Two Rivers and David Cook made it into the lyrics. The final product was silly and clever, if a bit meandering. Still, it was a nice personal touch to an already pretty intimate-feeling concert.

Callaway’s final song of her set was the Etta James classic “At Last.” This song is perfectly suited for Callaway’s voice, and she gave it her own sultry, soulful twist, singing with passion and stylistically fitting embellishments. I believe it was the best and strongest piece of the evening.

Themes of dreams, hopes, love, and friendship ran deep throughout the concert. The three songs Callaway performed with the Heartland Men’s Chorus, “Sing Out” and “Wherever You Are” (Callaway originals) and “Let Me Be the Music” were appropriate expressions of the theme, and although they leaned towards a bit too saccharine-inspirational for my personal taste, the emotional impact was undeniable. The Chorus sang well, with good sustain, diction, and energy (and an occasional shaky pitch and entrance), yet they didn’t have the depth and power I have heard them project in past concerts—the balance was off between the Chorus, the instrumentalists, and Callaway’s microphone levels.

With their upbeat attitude and pure joy for music-making, the Heartland Men’s Chorus always deliver enjoyable shows that leaves the audience entertained and uplifted. Callaway’s presence was a welcome treat—an excellent guest for this elite, yet easy-going event. The Heartland Men’s Chorus should absolutely celebrate and be proud of their 25-year history and I look forward to what they have in store this special season!

REVIEW:
Heartland Men’s Chorus
with Ann Hampton Callaway
Saturday, October 2, 2010
Folly Theatre
12^th and Central Streets, Downtown, Kansas City, MO
http://www.hmckc.org

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.