Submitted
by Al Kanovsky 07/12/15
…hidden
JAZZ treasures is vocalist LeNard Rutledge whose performance at Arts Garage in Delray
Beach brought the audience to its feet. Most of the audience had never seen or
heard LeNard before. He definitely made an impression.
With
him were Jaui Schneider on piano, Thomas Williams playing upright bass and the
dynamic Mike Harvey at the kit. The play list was made up of easily
recognizable tunes that JAZZ vocalists do. Some songs you can hear the Joe
Williams or Lou Rawls or Johnny Hartmann influence. Others are strictly LeNard.
They started with "You Don't Know What Love Is" and right off the bat
you knew that this is not a run-of the-mill JAZZ singer. LeNard takes
chances with all of it. The melody, the rhythm and the dynamics. Bent but not
broken. Next was "I Thought About You" and the Joe Williams influence
was evident. "A Day In The Life of a Fool" and there were the
intonations of Lou Rawls. The bossa rhythm was perfectly executed by the trio. "Do
Nothing 'Til You Hear From Me" is a Duke Ellington composition. It took me
back to my teen years when I had a band called The Bot Allen (me) Five and we
played for B.S.Pully in a club called The Pump Room on Washington Ave. in Miami
Beach. I sang that song at least a couple of times a night, 6 nights a week for
5 months. That was 1947 and I turned 16 while playing that gig. LeNard's scat
was a lot better than mine. Jaui added some barrel-house and Thomas played an
exciting solo as well. "Just Friends" and again he did some
exceptional scat work. Thomas and Mike traded 4's and LeNard took it out ending
on an effective flatted 5th. "The Very Thought of You" is totally
LeNard. His intonation is perfect. He has me thinking of past loves. Wonderful
memories. Swinging it they do "I Can't Believe That You're In Love With Me".
The audience reacts, clappin' & tappin'. Jaui delivers a 5* solo and that
ended the set. During the break I asked LeNard why he hadn't pursued a more
national career. His answer was simple and admirable. "I wanted to be here
with my wife to raise our children." They will be grown and on their
own soon and hopefully LeNard will be able to gain the recognition he deserves.
They
start the 2nd set with "Lullaby of Birdland" followed with a swinging
"Alone Together". They do "Speak Low When You Speak Love"
to a samba beat. I am wide eyed at Thomas' solo to that rhythm. Most difficult
for bass players. The transit from samba to bossa with "Girl From
Ipanema". A song that tells a story is "Here Comes That Rainy
Day". Each and every one of us has experienced it at some time in our
lives. LeNard does "How High the Moon" in an unusually slow, almost a
shuffle tempo but JAZZes it up with some exceptional scat lines. When he does
"All The Things You Are" my mind again drifts back to the women I've
held in my arms and now rest in the Lards hands. "Use Your
Imagination" is fun.
A
tablemate shouts out a request for "Since I Fell For You" and LeNard
accommodates him in arousing fashion. Nice, easy rhythm for "You'd
Be So Nice To Come Home To" and then LeNard attempts to close with his
traditional "That's All". An encore is demanded by this now
"Wowed" crowd and he obliges with a Latin rhythmed "What Is This
Thing Called Love". He leaves the audience standing in applause.
Last
week I wrote about Noreena Downey, another under acclaimed artist. The
Southland has many of them that are deserving of recognition. That is your job.
Check listings, Get out and support live JAZZ & BLUES. You'll love it.
Al's Disclaimer:
A
short note: The reason I write this is because I love music and words. I do not
book acts. I do not promote acts. I do not accept invitations to review
artists. I go to venues of my own choice. When and where is not influenced by
anything other than who I would like to hear that night or day. If I don't like
what I hear, I won't write about it. When I like it I let you all know. I
never mention a name without asking permission. "Pardon me, Miss. Would
you like to dance?"
~ ~ ~
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