Review: NICOLE HENRY Packs The House For Birdland Debut

During her Birdland debut on July 10th, Nicole Henry mentioned some of the clubs she has played in Manhattan.  Jazz at Lincoln Center, The Metropolitan Room, The Blue Note, 54 Below, Town Hall, the old Feinstein’s on the Upper East Side… it was an impressive list of credits.  But even with those stellar clubs on her CV, this was, in fact, Nicole Henry’s first time at Birdland, shocking because Nicole Henry is a jazz singer.  Jazz is the genre that has garnered Nicole Henry legions of fans and club dates around the world, throughout the year.  Nicole Henry should, by this point, be a regular at the legendary jazz club but that’s the future, not the past.  Of course, there is a cosmic purpose for Nicole Henry’s Birdland debut coming so long after her initial (and continued) success in the jazz music industry - it made it into an event.  All of Nicole’s fans turned up for the auspicious occasion in her career and in Birdland’s history.  The main room at the Forty-fourth Street establishment was completely at capacity, and there could be found, throughout the audience, the faces of other jazz artists, like Miss Catherine Russell, shown up to support her fellow musical storyteller at her craft.

Mind you, Nicole Henry is not just one thing.  She is also an actress who recently completed a run in regional theater as Shug Avery in The Color Purple, she is a pop vocalist with a touring Whitney Houston tribute show, and she is a black woman whose musical program and onstage script is informed by her heritage.  So whether she is presenting a jazz, pop, or musical theater program, Nicole Henry can be found singing the music of Stevie Wonder, Nancy Wilson, The Jacksons, The Wiz, and the church where she spent Sundays, growing up.  But no matter what sort of concert is being performed or what kind of club is welcoming the statuesque star, on July 20th, for the benefit of Birdland, Nicole Henry played one of her jazz shows, and everyone could see and hear why the industry and audiences have taken her to their hearts.

For her generous ninety minutes on the Birdland stage, Nicole Henry performed a variety of compositions from her eight albums (a ninth is on the way, she promised) and from the world of music.  Whether working with pop classics like James Taylor’s “Your Smiling Face” or soul sounds like Sade’s “Is It A Crime?” or a lovely collection of Broadway melodies by the likes of Lerner & Loewe, Irving Berlin, Rodgers & Hart, and Bricusse & Newley, Ms. Henry brought her A-Game and her individuality to each number.  As a curation of songs from her albums over the years, the treatments came from the creative minds of a variety of musical artists, but Ms. Henry made sure to call out the name of her Musical Director for the night, Shedrick Mitchell, a number of times, and whichever of the performances were orchestrated by Mr. Mitchell, whichever came from the drafting tables of other artists, there was no hiding the impeccable (and often thrilling) work Shedrick was doing at the keys.  To be certain, all of the band members for this musical outing were worthy of our full attention because all of the men backing up Nicole Henry are world-class musicians that Nicole took obvious pride in showcasing, through one breathtaking solo after another.  With Eric Wheeler on Bass, Charles Haynes on Drums, Keith Loftis on Saxophone, and Mr. Mitchell at the piano, there was a reasonable expectation that the music of the night in question would be exquisite, but something about Nicole Henry just seemed to inspire the gentlemen to want to rise higher to the occasion than even this writer’s expectations might have imagined.  The combination of the five musical artists working together had the Birdland audience living their best lives - a quick glance around the room, at any given moment, found some patrons bobbing their heads in time with the rhythms, while others were outright dancing in their chairs.  Still other patrons of the club could be spotted mouthing the words, singing along, or even crying out with appreciation for something that struck them as particularly brilliant, like Wheeler’s work on Billy Miles’ “My Love Is” or the Loftis solos on “Midnight At The Oasis“ - to be brief: Nicole Henry and the band had them in the palm of their collective hands.    The July 10th audience could have, would have, stayed all night, and it is clear that future shows at Birdland will be successful sell-outs.

There is a moment in a modern-day classic movie called The Fabulous Baker Boys when Beau Bridges is watching Michelle Pfeiffer audition for his band.  His hands are near his face, his eyes are laser-focused on the singer, and he is not moving.  Completely still, there is every chance he has even stopped breathing.  That is because he knows he is watching someone special do something special.   That’s what it’s like watching a Nicole Henry show, a Nicole Henry performance - you can’t breathe, it’s such a special moment in your day.  At least that’s the way it is for this writer… but given the audience response at Birdland on July 19th, there’s a better-than-strong chance that there are many who feel the same way.

Particular highlights for this writer were a stunning Shedrick Mitchell-arranged “How Glad I Am” that Henry promised will be an upcoming recording, an intricately arranged and expertly executed “I Didn’t Know What Time It Was” that showed everyone off to their greatest advantage, and a deeply dramatic “Don’t Take Your Love From Me” that brought the evening to its close.  Throughout the performance, Henry displayed her usual knack for intricate phrasing and interesting interpretation of the musicality, not just of the original compositions but the treatments those compositions had been given, to say nothing of patently obvious acting skills, as emotions played across her face.  Henry also displayed a full understanding of the tools of her trade, her interpretive intent, and her ability to communicate, counting off the band and setting the mood, and when it wasn’t working, as was the case with “Won’t Be Long,” she could be seen trying to get everyone into the same beat with her hands, until, finally, Nicole stopped the number altogether, announcing, “I gotta find my groove…I gotta figure out what my boogaloo is.  Cause if I take it too fast I might hurt somebody.”  (Gales of laughter ensued.)  And then, before our very eyes, Nicole Henry used her voice, her body, and a kind of vocal shorthand that only musicians understand, to get the number on its feet.  Watching Henry and her colleagues ply their craft in real time was a real treat, one that allowed the audience a glimpse into the act of creation and their artistry - and this is artistry, at its purest and most pleasing.  Thank goodness Jim Caruso invited Nicole Henry to Birdland because it’s been a long time coming, and now that she is there, may she return many times to fill the seats and thrill the crowds.

Find great shows to see on the Birdland website HERE.

HERE is the Nicole Henry website.

Photos by Stephen Mosher; Visit the Stephen Mosher website HERE.

 

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