CSN co-directors Marcia Macres, Jennifer Truesdale
Last Saturday night at The Burren in Somerville, Massachusetts found the Chick Singer Night organization hosting their annual fall presentation. Blessed by the inclusion of jazz singers and an electronic swing vocalist, this was one of the most dazzling, sophisticated CSN showcases in several years. Co-directors Marcia Macres and Jennifer Truesdale gathered some classy lady singers to deliver something equal amounts talent and sparkle.
Jenn Zaroulis
Jenn Zaroulis kicked off the event accompanied by her husband Jim Zaroulis on piano. Performing Donny Hathaway’s “More Than You Know,” her voice found the right spaces between thick bass notes, riding well over the sparse accompaniment. Increasing dynamics, sustaining verses, Zaroulis furthered her emotive sprawl. Taking a left turn into Tori Amos’s “Happy Phantom,” this well poised singer captured the songwriter’s intent as her whimsical delivery took swift turns within its smart mid-tempo format. Zaroulis’s take on “Goodbye Yellow Brick Road” found her vocal delivery as heavy as the knobby piano lines. She phrased the vocal melody with an edge and a strength that showed she has the chops to handle any song.
Lori Zuroff
Next feature was Boston’s jazz, blues, and rock chanteuse Lori Zuroff. Performing with jazz guitarist Paul Greenspan, she showed she was born to sing this special form of American music. With a nuanced delivery, her voice seemed to be hovering over Greenspan’s melody line to “Born To Be Blue.” Zuroff moved her voice around that line like an ice skater on a frozen lake. Zuroff employs a wide variety of techniques. While singing Tom Wait’s “Temptation,” she finessed the vocal melody, coaxing it into something wider by each verse’s end, making a fine contrast with Paul Greenspan’s intervals of rippling notes. Making words jump with energy is also a Zuroff stock in trade, her vocal glide cruising over her guitarist’s twitching brittle notes
Maria Frattura
Vocalist Maria Frattura came up next to feature her jazz vocals on “No Regrets.” One can picture a lady having a happy drink by herself reminiscing about a relationship she was able to let go. That’s because her voice , riding high over this jaunty number, has a bright coolness that makes her lyrical emotions easy to buy into. Performing Corrine Bailey Rae’s “I’d Like To,” Frattura’s technique of swiftly switching from sustains to phrasing made the song hip as hell, especially with a lively band behind her. That lively band was particularly festive when Frattuaa, with electric stage charisma, with through Liz Wright’s “My Heart” with a clicking pace that required her to jump into just the right places.
Valerie Giglio
Singer Valerie Giglio turned in an endearing performance with her electronic swing music. Dressed like and singing like a 1920s jazz chanteuse, Giglio sang a few prohibition inspired songs, swinging her silky voice around electronic versions of that era’s swing music. She wrapped her voice around 1920s tempos her lively voice gracing her song like a white glove moving over a wooden banister. Her original, “Starlite Ballroom,” got on the first round ballot as an entry for a duo by the Grammys and features Samuel Cerra’s vibraphone melody.
Patty Brennan
Final feature, Patty Brennan, opened her set with a startlingly good version of Fleetwood Mac’s “Sara.” Brennan, with vocal harmonies from CSN director Truesdale, captured the airy spirit of this song. Forceful and breezy at once, Brennan’s voice developed from whispery matter through subtle shifts in dynamics to an anthem of live. Amazing. Sweet, silky, smooth, Brennan was a natural to sing “Kiss Me” as well as being perfect to deliver the magic on Petulia Clark’s “Downtown.” Here , Brennan captured the festive, merry spirit of the original
Of course, Chick Singer Night would not be as special if it is not for the close out numbers from co-directors Macres and Truesdale. Macres belted out the Screamin’ Jay Hawkin’s number “I Put A Spell On You” in true Halloween spirit, singing out over a palpable groove. Guitarist Juli Finn placed a sultry lead guitar line beneath Macres’ haunted howl while her husband Jon Finn pressed out assertive chords that blended perfectly with the rhythmic drive. Macres, demonstrating that she is sometimes possessed by demons, delivered a rocked up version of Tracy Bonham’s “Mother Mother.” Macres’ vocal could best be described as acid rock on steroids as the Finn guitarists maintained a perfect garage rock grunge sound beneath her. With a little help from vocalist Gay Sheldon on harmonies, Macres also “Que Sera Sera,” gliding through the verses until something propelled her through the renowned chorus.
Jon Finn, Juli Finn
Last but not least was CSN co-director Truesdale, a lady lovelier than the word lovely can convey. Here, Truesdale rocked out at the microphone with rockabilly flavored original “Drivin’ Home To You.” With Finns whipping out aggressive chords and road runner lead phrases, Truesdale held her own against the raucous groove. Going into another original “Thinking About You” from her recent album Through The Circle, Truesdale showed her mellow romantic side. Her sweet, tender delivery was perfectly augmented by Mr. Finn’s spicy acoustic guitar melody, which he advanced one sweet pace at a time. Truesdale closed out her set and the evening with “What Can I Do,” another original from her most recent release. This slow blues number let her showcase her empowered voice, putting a stamp on her son with personal emphasis.
Another successful Chick Singer Night presentation, the Burren was packed with fans of these ladies. It was also one of Chick Singer Night’s smoothest evenings, with tight performances between singers and the lineup of backing players. Including jazz singers and an electronic swing singer were strokes of genius that added plenty of class to last night’s event. One can only wait to see how Macres and Truesdale top this showcase.
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