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| Tierney Sutton and Tamir Hendelman-Spring-BFM Music |
The
deservedly acclaimed vocalist Tierney Sutton and the virtuosic pianist Tamir
Hendelman join forces in an intimate duo creating a beautiful album, Spring. Self-produced by Sutton and
released in February 2026, this album finds these two superb musicians
telepathically complimenting each other’s ideas with thoughtfulness and finesse. Take an unrushed hour of your time to listen to how well the art of the song can be realized in the hands of two masters. Spring should please even the most
discerning listeners.
I first
caught Sutton and her husband/guitarist Serge Merhaud when they performed in a
quartet with vocalist Kate McGarry and guitarist Keith Ganz at the Velvet Note
in Alpharetta, GA back in July of 2016. You can check out my review of that
performance here. Unfortunately, Ms. Sutton was suffering
from laryngitis on that date, and while she bravely soldiered through the
performance, she was clearly struggling to deliver her best.
Sutton has
been nominated for a Grammy nine times, and while she has been denied the prize
so far, her repeated nominations speak volumes to this woman’s popularity and
talent. Tamir Hendelman is a formidable pianist who has been the preferred
accompaniest to the likes of Natalie Cole, Barbara Streisand and Roberta Gambarini, not to
mention serving as the pianist with the Clayton-Hamilton Jazz Orchestra. These two create
magic.
If Spring is received as well as this fine
work deserves, this album should receive another Grammy nomination and may finally garner
Sutton a well-deserved Grammy win. Only time will tell.
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| Tamir Hendelman and Tierney Sutton (Photo credit unknown) |
Spring is a season that speaks to rebirth, growth and promise. Spring, the album, takes that concept and invigorates the art of the song by reinvention, thoughtful interplay and a patient approach that allows Sutton to breathe new life and meaning into the lyrics of these beautiful songs. The music features compositions by Antônio Carlos Jobim, Paul Simon, George Gershwin, Hoagy Carmichael, Peggy Lee and Michel Legrand. The title cut by the Brazilian guitarist/composer Dorival Caymmi was introduced to Sutton by Hendelman for this album. The wordsmith magic of Johnny Mercer and the legendary team of Alan and Marilyn Bergman (Alan served as a mentor to Sutton prior to his death in 2025) make this collection the perfect vehicle for these two to create an intimate, sensitive, musical conversation. Sutton is a consummate storyteller, and it’s never more apparent when the astutely chosen material gives her the framework on which to build her own imaginative interpretations. “Double Rainbow” is a Jobim composition that opens the album. The pianist’s intro is glorious, and Sutton’s vocalese is transcendent, modulating effortlessly. Her voice is a supple instrument that leaps and dances with splendor and joy. Hendelman’s pianistic excursions are rich and lush.
“Waters of March,” another Jobim composition, was popularized in the original Portuguese on the release of the Brazilian chanteuse Elis Regina in 1973. The song is about the cyclical nature of life. Sutton’s voice and Hendelman’s tinkling piano introduce a rain-like shower of sound before she navigates the quick, pointillistic lines with precision and flexible accuracy. Playful, hopeful and fun.
Paul Simon is perhaps one of the most respected composers of the last fifty years. His folk ballad “April, Come She Will” is transformed by Sutton, a dusky metaphorical story of the seasonal markers of the coming and going of a lover. Hendelman’s intro glistens. The two bring a eloquence to this story, a realization that the relationship inevitably changes with seasons and time, never to be possessed, just to be remembered.
Song genie George Gershwin is represented on his “S Wonderful,” a show tune from the musical Funny Face from 1927. The song was written for a dance scene that featured Fred and his sister Adele Sinatra. In the film version from 1957, it united Fred Astaire, this time with Audrey Hepburn. This song is cheerful and high-spirited and while it doesn’t seem to link back to the spring theme of the album, Sutton opens it with her own unique intro. She scats in unison with the pianist's lines and he offers some of his most dynamic solo playing of the album. The two quicken the pace as Sutton instrumentalizes her voice effectively and with speed. A daring arrangement that is joyous and impressive.
Hoagy Carmichael wrote “I Get Along Without You Very Well” with the lyrics inspired by a poem. It was handed to Carmichael anonymously and was later found to be written by Jane Brown Thompson. The poignant lyrics are sung so earnestly by Sutton and brilliantly accompanied by Hendelman. The pianist is impressionistic, layering his ideas and interweaving with Sutton’s marvelously emotive voice.
The popular vocalist Peggy Lee is credited with composing “Thing’s Are Swinging.” Sutton and Hendelman raise the temperature by taking this to full throttle swing mode.
Brazilian composer Dorival Caymmi’s “Spring” offers a sensitive ballad, and it becomes the title of the album. With lines like “Spring holds in her arms a bunch of daffodils, the possibility, a warmer day will arrive” this song erupts with hope and renewal. Sutton’s voice expresses the sentiment honestly. Her own personal experiences are knitted into fabric of the music, enlivening the message in these lyrics. Hendelman’s piano never fails to be complimentary.
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| Tierney Sutton (photo credit unknown) |
My personal favorite on Spring is a song that has been recorded by multiple chanteuses including Ella, Sarah, Cassandra, Carmen, Betty, Sinne, Bette and Norah, to jazzers like Phil Woods, Stanley Turrentine, George Garzone, and Stan Getz. This popularity tells you the song offers a lot to work with for a creative musician. No matter what version you have loved this one should touch you. “Spring Can Really Hang You Up the Most” is written by Tommy Wolf with lyrics by Fran Landesman. The song is a quiet gem and Sutton and Hendleman make this one their own. The story is a classic barstool lament, a cry in your beer ballad. Sutton’s interpretation is evocative with pathos and resignation, and Hendelman’s piano allows her the space. Sutton has a sixth sense of how to play this one and she captures the essence of the emotional reality that is so perfectly portrayed by this classic. The reality that a lost love can have long lingering feelings of regret.
The remaining album offers additional surprises with Frank Loesser’s waltz- like “Spring Will Be A Little Late this Year,” featuring some beautiful piano work by Hendelman. Johnny Mercer’s swinging “Spring, Spring, Spring” which finds Sutton exercising some of her acrobatic vocalese to great effect and skillfully navigating the quick-worded lyrics to this playful tune. Hendelman features some fine stride-like, ragtime inspired piano work in accompaniment.
Michel Legrand was a master of composing for films. His “You Must Believe in Spring” was written for the French film “Le Demoiselle de Rochefort” and has been a source for several interpretations, probably the most famous was a collaboration by Bill Evans and Tony Bennett from their album Together Again from 1976. Sutton and Hendelman do a touching take on this lovely ballad. It’s important to revive some of the canon's great film scores and LeGrand's work certainly fits that bill. Film scores often add to people’s experience and connect viewers with the films, and they are an important part of our artistic heritage. Hendelman’s solo was sublime. Sutton offers a gorgeous vocal interpretation that would certainly put a smile on Legrand's face.
The closing composition, “L.O.V.E.” was written by the German composer/bandleader Bert Kaempfert specifically for Nat Cole King. This one is full of rambunctiousness and requires swift, skilled virtuosity by both Hendelman and Sutton. The two don't disappoint and the song is a pure romp of joy.