|L-R: Peter and Will Anderson in SONGBOOK SUMMIT|
Chalk up another win for the Anderson twins. We have just come from the Jerome Kern program they staged in the second week of this year’s Songbook Summit at Symphony Space on Broadway on the Upper West Side of Manhattan (August 14-19) and we found it to be as delightfully entertaining as was the Irving Berlin program we attended during the first week (August 7-12). (See our August 12 post: “Peter and Will Anderson Present SONGBOOK SUMMIT at Symphony Space”).
If Irving Berlin was the greatest American composer of the twentieth century, Jerome Kern was assuredly the composer who had the greatest influence on the Broadway musical. Prior to 1927, Broadway musicals largely consisted of light comedies, revues, and operettas in the European tradition but Kern’s production of Showboat that year changed all that. For the first time, a plot-driven musical play was staged on Broadway, one dealing with racism and other serious subjects, and Broadway has not been the same since.
In the course of his remarkable career, Kern collaborated with the leading lyricists of his time including P.G. Wodehouse, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer and Ira Gershwin. He wrote over 700 songs used in over 100 stage works including such classics as Ol’ Man River, Can’t Help Lovin’ Dat Man, The Song Is You, I Won’t Dance, Nobody Else But Me, and The Way You Look Tonight.
Peter and Will Anderson have taken all this material and used it to create a terrific jazz program based on Kern’s work (arrangements by Peter). This, of course, is rather ironic given that Kern didn’t care for jazz and was vehemently opposed to altering, adapting or interfering with his work – which is absolutely essential to its jazz re-interpretation and improvisation. But the Anderson twins have done such a great job that I’d like to think that Kern would be more than willing to forgive them.
The Anderson twins are exceptionally talented jazz musicians (Peter on the tenor sax, soprano sax, and clarinet, and Will on the alto sax, clarinet and flute). Peter’s arrangements are also excellent and Will does a superb job of educating his audience with narratives, video presentations, and lessons, even while entertaining them musically. And, in the performance I attended, the brothers were also very fortunate in being backed up by three other top flight musicians: Tardo Hammer on the piano, Clovis Nicolas on the acoustic bass, and Phil Stewart on the drums.
And we cannot forget Molly Ryan on vocals whose renditions of Ol’ Man River, Can’t Help Lovin’ Dat Man, A Fine Romance, and I Won’t Dance were all exceptional.
The third program in this year’s Songbook Summit will focus on Hoagy Carmichael and will run from August 21 through August 26. I’m looking forward to it.