Understated chanteuse lets the music do the talking in a place where live jazz is thin on the ground.

Dunstan Playhouse, Adelaide
June 5, 2015

Live jazz is thin on the ground in Adelaide and was even thinner on the ground at last year’s Cabfest, so Barry Humphries is providing much needed sustenance to jazz devotees with several jazz acts in this year’s festival including Karrin Allyson, one of the USA’s finest exponents. Supported by Ed Howard (stand up bass), Adam Cruz (drums) and Rod Fleeman (guitar), Allyson showed her versatility and quality running the jazz gamut from the sounds of Brazil and Jobim (A Felicidade), the blues (Mose Allison) and classical jazz of Ellington (Ain’t Got Nothin’ but the Blues, Sophisticated Lady) to Piaf (Sous le Ciel de Paris). However, Allyson’s most intriguing renderings were her unexpected pianistic and free reconstructions of Joni Mitchell’s All I Want, the dulcimer infused introduction to Mitchell’s classic album Blue, Paul Simon’s rarely heard April Come She Will, and a paired back, reflective version of the Charlie Chaplin classic, Smile.

Allyson’s soft retiring tone reminded me initially of the waspishness of Blossom Dearie, but in the blues numbers in particular (Moanin’, Sweet Home Cookin’ Man), she demonstrated power more in keeping with a Nancy Wilson or Dee Dee Bridgewater. I enjoyed the deftly positioned instrumental solos and there was a touch of Joe Pass about Fleeman’s nimble finger-work. The quartet is composed of long time musical companions and the synergy is evident. Allyson’s banter was minimal and she thankfully let her music do the talking over the seventy minute set. Indeed, the chanteuse was understated compared to many American artists who have graced the festival. However, that’s the magic of great jazz. You don’t need to lay it on thick. The quality will inevitably infuse the listener and while the Adelaide audience was quiet, the punters appreciated that they had been given an all too rare treat.