Utterly Enjoyable: Tessa Souter's "Night of Key Largo"

Tessa Souter Nights of Key Largo Venus 

I was recently sent a copy of Nights of Key Largo, an album from the vocalist Tessa Souter. The album was originally released on the Venus label in Japan in 2008 and was re-released here in the United States this year.

Ms. Souter is a London born singer who took to singing late after a successful career as a copy editor, a freelance journalist and a mother. She moved to the US in 1992 and attended the Manhattan School of Music meeting and later being mentored by the late great Mark Murphy for four years. She has also studied with the NEA master vocalist Sheila Jordan.

Ms. Souter’s work is marked by one of the most natural voices in jazz today. Her delivery is clean, honest and emotionally sincere. She has what musicians call great ears and a superb taste when choosing material to cover. She often finds inspiration in re-imagining songs that do not fall into the repertoire that is generally associated with jazz. Some splendid examples of this woman’s musical creativity include her flamenco-fused version of Cream’s “White Room” and her treatment of the Beatles classic “Eleanor Rigby” both from here 2009 album titled Obsession. She extended her musical boundaries venturing into a successful fusion of jazz, pop and classical on her fine 2012 album Beyond the Blue, putting her own lyrics to jazz versions of Beethoven, Rodrigo and Chopin. 

On Nights of Key Largo, Ms.  Souter, along with producers Tetsuo Hara and Todd Barkan, assembled an intuitive group of musicians to accompany her on this outing. The inimitable Kenny Werner on piano and I assume arrangements, bassist extraordinaire Jay Leonhart, guitarist Romaro Lubambo, saxophonist Joel Frahm and drummer Billy Drummond all add significantly to the overall success of this effort.

Souter again finds some hidden gems that other singers seem to miss. There is something for everyone who loves great music on this album. Notable compositions  include Ivan Lins romantic “The Island,” where Ms. Souter’s breezy vocal and Frahm’s mellow tenor wrap you in a sensuous blanket.

Van Morrison’s folk/jazz/blues classic “Moon Dance,” is given to a jaunty treatment featuring Leonhart’s buoyant bass. 

Lubambo’s lush guitar chording is the perfect complement to Souter’s liquid vocal on “So Many Stars.” 

Werner’s beautiful piano accompaniment on Bachrach’s “Look of Love” is just transcendent and Souter knows how to make the most of it with her unadorned approach. 

On the cinematic John Barry theme to James Bond “You Only Live Twice,” Souter’s voice floats over Lubambo’s gentle guitar picking.

The oft neglected Benny Carter composition “Key Largo” features Ms. Souter’s voice at it’s most sultry.  This is adult contemporary at its best. Werner is superlative and Leonhart and Drummond keep the walking time impeccably.

Lubambo’s delicate guitar and Drummond’s shimmering cymbals introduce the Mancini classic “Slow Hot Wind” before Souter comes in with her telling reading of the evocative lyrics, as Frahm offers a sensitive tenor solo.  

The album continues with the lovely “Moon and Sand,” “I’m Glad There is You” -with an exceptionally  swinging solo by Frahm- “All or Nothing at All”, “Morning of the Carnival” -with some beautiful arco work by Leonhart- and ending with John Lennon’s wistful and hopeful “Imagine.”

I've listened to this album several times now and it is utterly enjoyable. If her previous work hasn’t convinced you to pay attention to this fine vocalist than the re-release of this hidden gem Nights of Key Largo should be all you need to sit down, listen and enjoy the compelling sound of Tessa Souter.

Vocalist Mark Winkler celebrates life with "The Company I Keep"

It is not easy to lose someone who you are close to. Grief can be debilitating, especially if the person you lose has been the object of your undying affection for thirty-five years. Vocalist Mark Winkler experienced this when he lost his husband and friend movie executive Richard  Del Belso last year.

Instead of using the experience to sit and sulk, Winkler turned the emotions this loss elicited into a source of inspiration to renew friendships, immerse himself in his music and create his latest album, The Company I Keep. Winkler is one of the few hip, male singers that has both the chops and the intellectual affinity for writing clever lyrics of the type we associate with the Great American Songbook.

On The Company I Keep, Winkler has shown he also has an ear for great collaborations. The album features duets with longtime collaborator Cheryl Bentyne of Manhattan Transfer fame, vocalists Jackie Ryan, Claire Martin, Sara Gazarek and Steve Tyrell. The musicianship on this album is stellar with arrangements by Jamieson Trotter, John Beasley, Josh Nelson and Rich Eames.  

My favorite tracks feature Mark singing his own lyrics. Songs like the campy Bill Cantos’ composition  “Midnight in Paris”  with special kudos to the clarinet work of Don Shelton and the poignant violin of Paul Cartwright. The Bourbon Street flavored “But It Still A’int So” with Steve Tyrell singing with a gusto reminiscent of a young Mac Rebennack, is another highlight, punctuated with a gusty tenor solo by the yeoman Bob Sheppard.

Winkler is a developed taste, like appreciating a fine bourbon, he grows on you over time with his smooth, smoky delivery. His voice just nails all the right notes and he has a mastery of that long-lost art of storytelling.

If you have any doubts, just listen to his captivating story about an old jazz singer on “That Afternoon in Harlem” featuring the magical stride-like piano work of Eric Reed, the soulful trombone of Bob McChesney and the incomparable brush work of Jeff Hamilton. The musical scene just lingers in your mind and then as the lyrics lament “For a moment the world just fell away.”

Mark was strongly influenced by the late jazz vocalist Mark Murphy. His treatment of one of Murphy’s lyricized versions of Oliver Nelson’s “Stolen Moments” is a special tribute. The duet with Claire Martin includes Winkler’s own lyrics that accurately depicts seeing the singer famously performing his daring do “without a net,” capturing Murphy’ spirited, vocal adventurism.  A delicately bowed bass intro/outro and a subsequent pizzicato solo on the tender “Loves Comes Quietly” by the great John Clayton is a real treat. The song also features Reed’s sensitive piano comping and again Jeff Hamilton’s superb trap work.  

The joyful Leonard Berstien song "Lucky to Be Me" features David Benoit on piano and uplifting clarinet solo by the versatile Bob Sheppard. Rich Eames gorgeous piano accompanies Winkler's heartfelt rendition of "Here's to Life."

This is Winkler’s fifteenth cd and features an eclectic repertoire of songs from composers as diverse as Gershwin, Donald Fagen, Prince, Leonard Bernstein and Oliver Nelson. There is something here for everyone. The man has exquisite taste and a beguiling voice that deserves widespread attention. Bravo Mark,  I’am sure Richard would be most proud.

Slip Away: The Other Mark Murphy

The name Mark Murphy is synonymous to me with the recently passed jazz singer who epitomized a style that was uniquely his own. Edgy, unconventional in his approach and superlatively creative. He will be missed. Surely a hard act to follow.That is probably why I was initially hesitant to give this Mark Murphy a try, but as it turns out I am glad I did.

This singer/songwriter Mark Murphy is originally from Montreal. The Canadian followed his musical muse pursuing his Bachelors of Music at University of Miami before settling in New York City in 1995. He worked in the record business for a time while continuing to gig and hone his craft around the metro NY/NJ area. Eventually he combined his love of music with a business degree he received from Lehigh University and founded his own music company and school in South Orange, New Jersey.

His latest release Slip Away, features Murphy's folk-inspired vocals with some of the crème de la creme of the jazz world, spinning magic into his own compositions and some unusual renditions of folk/pop gems.

Murphy is joined by the in-demand pianist Jon Cowherd, the versatile guitarist Gilad Hekselman, Chris Morrissey on upright and electric bass, Dayna Stephens on tenor and EWI and the inimitable Jeff Ballard on drums.

Murphy covers Randy Newman's "Dayton, Ohio-1903" and Neil Young's iconic "Tell Me Why." Both songs, while well played, lack something from the originals- Newman's unmistakable sarcasm and Young's sense of urgency. But his collaboration with fine vocalist Maria Neckam on Bob Dylan's "Boots of Spanish Leather" is compellingly original and a highlight of the album. These two have chemistry.

Murphy's own "Slip Away" is a pleasing song, with a catchy Michael Franks inspired hook that will embed into your mind and have you humming it to yourself for a while. The music pulses forward with Stephens sax and Ballard'd drums leading the way.

A fetching version of Johnny Fay's "BobCaygeon" has some especially sweet Frisellian guitar work by Hekselman and evokes memories of the Allman Brother's at their ballad best.

Murphy's voice is in some ways a descendant of other cross genre vocalists like Kenny Rankin or Jon Marks from the old Mark-Almond band. A low keyed approach that never threatens to bombast you with anything but sentiment. His voice on Paul McCartney's "Waterfalls" embraces you with sincerity. Jon Cowherd's piano musings and Jeff Ballard's powerful drum work at the coda are just superb.
The closing instrumental, Murphy's "Kiwi" is a wonderful song that skillfully employs some steel guitar finger picking, soaring electric guitar riffs by Hekselman, some eerie EWI (Electronic Wind Instrument) work by Stephens and exquisite brush work by Ballard. Jon Cowherd finishes this delightful tune off with a sensitive solo at the coda that shows why he is so in demand.

All in all, while this Mark Murphy is not my own personal favorite Mark Murphy, his work on "Slip Away" is thoroughly entertaining and makes for some quality listening.

You can sample some of the album here: http://www.markmurphy1.com/slip-away-samples/

Notes on Jazz Third Annual 4th of July Living Legends of Jazz

Roy Haynes photo by Fran Kaufman  ©2012

Once again it is time for my annual Notes on Jazz listing of the Living Legend of Jazz. This is the third annual compilation and with each year we gain some new members and sadly lose some old friends. The list is a celebration of those who have, for so long, graced us with their talents, their creativity and their love of the music.


Last year we saw the passing of some truly venerable legends. Musicians, performers, innovators, teachers and mentors who made an indelible mark on society at large and on the music in particular. Some were famous, some infamous and all will be missed.


This fraternity of Jazz Legends lost two drummers. A onetime member of both the Ellington and Basie band’s drummer Butch Ballard passed at the age of 92. The eclectic rhythm machine, Paul Motian, who together with bassist Scott LaFaro and pianist Bill Evans formed what was perhaps the most influential piano trio of the last fifty years, died this year at age 80. The rhythm and blues drummer/singer.
Johnny Otis, whose true name was John Veliotes, was Greek by birth but chose to live the life of a black man. A man imbued with the music that moved his soul. He passed this year at the age of 90.


The prolific studio musician, teacher and trumpeter Uan Rasey, was one of those players whose name was mostly unknown to the general public. It was Rasey’s playing, however, that will transcend time, especially his haunting trumpet solo on Roman Polanski's Chinatown. Rasey passed at the age of 80. West Coast Dixieland trumpet player Ernie Carson passed at age 74.


 Four saxophonists that made their mark in their own unique ways left us with the passing of legends "Shiny Stockings” composer.Frank Foster at age 82, James “Red" Holloway age 84, Hal McKusick at age 87 and the free spirit Sam Rivers at age 88. Pianist Walter Norris, who played with Charles Mingus and Ornette Coleman, passed in Germany at the age of 80. Pianist Al Vega, a fixture for years in the Boston area died at age 90.The forward looking vibraphonist/drummer/composer Teddy Charles passed this year at age 84.


Three composer/arrangers, who each contributed to the cannon of the music, were lost this year. Their music will survive. Bob Brookmeyer was both a fine trombonist, and pianist as well as a formidable composer and arranger, whose big band arrangements combined the elegance of the Ellington era sound with his own contemporary ideas. He was an influential teacher who mentored a new breed of arranger/composers who are creating a Renascence in contemporary big band music. He died this year at the age of 81. Arranger Clare Fischer worked with such varied artists as Dizzy Gillespie and Prince. The pianist Herbie Hancock has credited Fischer as being a major influence on his own harmonic concept. Fischer passed away this year at the age of 83. Pete Rugulo was a well known arranger who charted songs for the Stan Kenton orchestra and worked with singers Nat Cole, June Christy, Mel Tormé and Dinah Washington. Mr. Rugulo was also active in film music. He passed this year at the age of 95. Lastly we lost the singer Etta James, whose voice on her hit "At Last” will be forever remembered by her legion of followers.Ms. James was 73.


The music has proven time and again that despite losing its legends to the vagaries of time, it is a durable art form, a resilient performance art that is beyond categorization.As some pass through touching us briefly with their artistry, there are always others who come into our orbit introducing new and exciting ideas and fresh musical concepts. The music continues to expand, organically thriving with every generation, as new musicians create from the infrastructure laid down by those who have blazed the path before them.
I continue to believe that Jazz is an art form that has become the most internationally cooperative means of communication in the world today.


On this fourth of July let our passion for the music continue with this yearly celebration of these communicators, those who have been and continue to be so instrumental in bringing us this music we love so much.


Here is my expanded list of veteran players, all at least seventy years of age, who in some way helped shape the music. I am sure to have missed some worthy contributors to the musical canon. My sincerest apologies for any inadvertent omissions. I welcome comments from readers who may know of deserving musicians who I should add to this list so that it can be more complete next year and a great big thank you to each and every one of this year’s celebrants.

LIVING JAZZ LEGENDS: July 4, 2012

Charles McPherson photo by Fran Kaufman ©2012   

 Saxophonists/ Reed Instruments:

Pharaoh Sanders, Gary Bartz, Peter Brotzmann, Roscoe Mitchell and Bennie Maupin (71), Arthur Bythe, Hamiet Bluiett, Wilton Felder, Joe McPhee, Charles McPherson, Carlos Ward, Paul Winter and Lew Tabakin (72), Odean Pope, Zibigniew Namyslowski, Charles Gayle, Sonny Fortune and George Braith (73) James Spaulding, Charles Lloyd, Carlos Garnett, Joseph Jarman (74) Archie Shepp, Nathan Davis, Frank Strozier and Jim Galloway (75) Klaus Doldinger, John Tchicai, Gary N. Foster, Kalaparusha Maurice McIntyre and Don Menza (76) Giuseppi Logan, Jimmy Woods, Houston Person, George Coleman and Bunky Green (77 Lanny Morgan, and Wayne Shorter (78) Lol Coxhill, Sadao Watanabe, Charlie Davis, Gato Barbieri and John Handy III (79) Phil Woods and Plas Johnson Jr.(80) Sonny Rollins (81), Ornette Coleman and Gabe Baltazar (82)Joe Temperley, Harold Ousley, Herb Geller and Benny Golson (83) Carl Janelli,Lee Konitz and Bob Wilber (84), Big Jay McNeeley, Med Flory, Dick Hafer, Lou Donaldson and Jimmy Heath (85), Marshall Allen and Earle“Von”Freeman (88), Frank Wess (90), Yusef Lateef (91), Harold Joseph “Hal”“Cornbread” Singer (92).

Frank Wess photo by Fran Kaufman  © 2012

Pianists:

Dick Hyman photo by Fran Kaufman ©2012;

Connie Crothers, Stanley Cowell, Armando“Chick”Corea, Mike Nock, Sergio Mendes and David Burrell (71), Herbie Hancock, Bob James, Charles Brackeen and Roger Kellaway (72), McCoy Tyner, Mike Longo, Joe Sample, Gap Mangione, Jon Mayer, Joanne Brackeen and Warren Bernhardt (73) Denny Zeitlin, Steve Kuhn and John Coates Jr. (73), Eddie Palmieri and Kirk Lightsey (75), Les McCann, Carla Bley and Harold Mabern (76), Ramsey Lewis ,Pat Rebillot, Ran Blake, Don Friedman,Oliver Jones, Ellis Marsalis Jr. and Abdullah Ibrahim (Dollar Brand), Dave Grusin and Misha Mengelberg(77)Pat Moran (McCoy)

Harold Mabern photo by Fran Kaufman©2012

(78) Cedar Walton, Paul Bley, and Larry Novak (79, Bengt Hallberg , Jack Reilly, George Gruntz, Derek Smith and Michel LeGrand (80, Muhal Richard Abrams and Horace Parlan (81) Amhad Jamal, Frank Strazzeri, Richard Wyands, Claude Bolling, Barry Harris and Toshiko Akiyoshi (82),Cecil Taylor, Horace Silver and Junior Mance (83) Freddie Redd, Martial Solal and Mose Allison (84), Dick Hyman and Claude Williamson (85), Randy Weston (86), Barbara Carroll (87), Paul T. Smith (89), Dave Brubeck and Marty Napoleon (91), Bebo Valdes (93), Marian McPartland (94).


Bassists:
Steve Swallow (71), Ed “Butch” Warren, Don Thompson andEberhard Weber (72), Mario Pavone (73), Larry Ridley, Reggie Workman and Charlie Haden (74), Ron Carter and Chuck Israels (75), Buell Nedlinger and Henry Grimes (76),Gary Peacock and Cecil McBee (77), Bob Cranshaw and Jack Six (79) Ron Crotty and Richard Davis (82), Bill Crow (84), Jymie Merritt (86) Eugene "The Senator “Wright (89), Howard Rumsey (94), Coleridge Goode (97).


Trumpet/Cornet/ Flugelhorn:
Eddie Henderson, Palle Mikkelborg and Chuck Mangione (71), Enrico Rava (72), Marvin Stamm and Hugh Masekela (73), Guido Basso (74), Ed Polcer (75), Chuck Flores, Ted Curson and Bobby Bradford (77) Donald Byrd (79), Jack Sheldon and Dusko Gojkovic (80), Alphonso “Dizzy” Reese, Louis Smith and Ira Sullivan (81), Sam Noto and Kenny Wheeler (82), Carl “Doc” Severinson (84), Joe Wilder (90), Clark Terry (91) Thomas Jefferson (92),Gerald Wilson (93 ).Lionel Ferbos (100)

Bucky Pizzarelli photo by Rick Gilbert 2012

Guitarists:
James Blood Ulmer and John McLaughlin (70), Jerry Hahn (71), Ralph Towner (72), Gene Bertoncini and Joe D’Iorio (75), Sonny Greenwich (76), Ed Bickert (79) Kenny Burrell (80), Jim Hall, Joao Gilberto and John Pisano (81),Martin “Marty” Grosz (82) Eddie Duran and, Bucky Pizzarelli (86), Mundell Lowe and Johnny Smith (90).


Trombonists:
James “Dick” Griffin and Wayne Henderson (72) Billy Watrous (73), Grachan Moncur III, Phillip Elder Wilson and “Big” Bill Bissonnette (75), Roswell Rudd (76), Julian Priester and Curtis Fuller (77) Locksley "Slide" Hampton (80), Santo "Sonny' Russo (83). George “Buster” Copper, Harold Betters and Conrad Janis (84), George Masso and Urbie Green (85) and Eddie Bert (90), Herbie Harper (92).


Drummers/Percussionists:
Jack DeJohnette (70 in August) Billy Hart (71), Andrew Cyrille, Ginger Baker Pierre Courbois and Idris Muhammad (72), Bernard Purdie, Issac “Redd” Holt, Nesbert “Stix” Hooper (73) and Tony Oxley (74),Pete LaRoca (Sims), Horace Arnold, Paul Ferrara, Daniel Humair and Edwin Marshall (74), Louis Hayes, James “Sunny” Murray, Charly Antolini, Colin Bailey and Roy McCurdy (75), Albert “Tootie” Heath and Chuck Flores (77), Donald “Duck” Bailey, Ben Riley and Ray Mosca (78), Mickey Roker Frank Capp and Grady Tate (80) Ronnie Bedford (81),) John Armatage (82), Hal Blaine, Jimmy Cobb, Charlie Persip (83), Joe Harris (85), Roy Haynes and Samuel “Dave” Bailey (86), Armando Peraza (88), Percy Brice and Al Harewood (89), Foreststorn “Chico” Hamilton (90) and Candido Camero (91)


Organists:
Mac “Dr John” Rebbenack (71)“ Papa” John De Francesco), Brian Auger (72), Rhoda Scott (74), Reuben Wilson (77), and Sir Charles Thompson (94).

Mark  Murphy photo by Fran Kaufman©2012

Jazz Vocalists:
Gilberto Gil (70) ,Janet Lawson (71), Astrud Gilberto and Al Jarreau and Mary Stallings (72), Ruth Price and Ellyn Ruker (74), Nancy Wilson, Carol Sloane, Karin Krog and Sathima Bea Benjamin (75) Marlene Ver Planck and David Frishberg piano/vocals (79), Freddy Cole and Mark Murphy (80), Gloria Lynne (80), Annie Ross (81), Sheila Jordan and Ernestine Anderson (83), Cleo Laine,Jackie Cain and Ernie Andrews (84),Tony Bennett (85) Bill Henderson and Jimmy Scott (86) Bob Dorough (88) Jon Hendricks (90), Helen Merrill (92) ,Herb Jeffries (98).


Artists on Other Instruments:
Bobby Hutcherson and Roy Ayers, vibraphonists and Lonnie Liston Smith, keyboardist (71) and Hubert Laws, flautist (72) , Perry Morris Robinson, clarinetist (73) Gunter Hampel, multi-instrumentalist, Charlie Shoemake, vibraphonist , Dave Pike, vibraphonist/marimba and Mike Maineri, vibraphonist (74) Hermeto Pascoal, accordion & keyboards (76) Reuben Wilson, organist (77) Joe Licari, clarinetist, Sonny Simmons sax and English Horn, Warren Chiasson vibraphonist (78),Michael White, violin and Emil Richards, vibes and percussion (79) David Baker composer/cellist (80), Frank Marocco, accordion, Pierre "Pete" Fountain, clarinetist and Sam Most, flautist (81), Rolf Kuhn, clarinetists and Paul Horn, flautist (82), Bernard “ Acker” Bilk, clarinetist, Peter Appleyard, vibraphonist and Andre Previn conductor/pianist (83), Terry Gibbs, vibraphonist and George Wein, Pianist/ Concert Promoter (87), Rudy Van Gelder, recording engineer (87), Sammy Nestico pianist/arranger and Buddy DeFranco, clarinetist (88) Lorraine Gordon music producer and Owner of the Village Vanguard(89),Jean “Toots” Thielmans, harmonica/guitar/whistler (90), Svend Asmussen, violinist (96). 


 Many thanks to photographers Fran Kaufman and Rick Gilbert for graciously allowing me to use their wonderful photographs.

Trinidadian Songbird Tessa Souter plays Joe’s Pub to start New Year

January 2, 2010, New York, NY
Joe’s Pub is a lower east side jazz venue that has more of the feel of a theatrical venue then a jazz club. As you make your way into the performance space, with its high ceilings and multiple levels, you are ushered past the waitress station and can go either left toward the stage or right toward the elevated bar and lounge area. There is occasionally the sonic and vibratory presence of the subway that runs under the building, at times creating an uninvited rumble during the performances.

Tessa Souter is a tall, slender, elegant, sultry looking vocalist who has a pleasant countenance. She engages her audience with playful banter and a genuine smile.
On this occasion, her long strapless lame gown, her tightly coiffed hair and the pendulous earrings that dangled from her ears in elegant style accentuated her refined look.

Steeped in her British and Trinidadian heritage, she has a voice that is both a little proper and a little playful in a beguiling way. It has a warmed honey texture that is in the contralto range rarely stretching too far a field from her comfort zone. Her wording is precise and she uses no vocal gimmickry. Ms. Souter is most emotive when languishing in the lyrics of the sensitive songs from her repertoire, which she generally chooses with great care. She accentuates the mood she builds with a deft use of gentle pauses and well-timed refrains.

On this evening she was joined by Jason Ennis on acoustic guitar, Maryanne Sweeney on acoustic bass, Connor Meehan on drums and Victor Prieto on accordion. The one set show started with the Alex North composition “Love Theme from Spartacus”, made famous by the inimitable Bill Evans on his CConversations with Myself LP. Ms. Souter soulfully rendered this delicate jewel in an economical fashion, accompanied only by Ennis’s acoustic guitar and Sweeney’s arco bass. Less can sometimes be more.

On the Mongo Santamaria/Wayne Shorter montage “Afro Blue/Footprints”, Souter chose the rhythmic patterns of these songs, added her own inherent Caribbean sensibilities with her brooding vocal and created a uniquely moving hybrid. The highlight of the evening came with Ms. Souter’s rendition of Milton Nascimento’s soaring “Empty Faces” (Vera Cruz), which brought to mind the energetic and stylistic Mark Murphy’s rendition. Ms. Souter, while not as adventurous a vocalist as Mr. Murphy (with whom she has studied), showed a genuine affinity for the lyrics and rhythmic intensity of the song and delivered both brilliantly. She was equally impressive on her moving Obsession from her latest album of the same name. Ms Souter’s sensuality eliciting the anguish that only comes from someone who has lived through an all-encompassing love interest. Victor Prieto added an immeasurable poignancy to this music with a stirring and modulating solo on accordion that evoked a Tango Nuevo influence.

A quirky rework of the Lennon & McCartney composition “Eleanor Rigby” featured an exaggeratedly expressive vocal by Souter, as Ennis, Sweeney, Meehan kept the beat and Prieto went in and out with modulating accordion accents. “Avec le Temps” and the overdone Leonard Cohen’s “Send in the Clowns” were less thrilling. I was struck by how measured Ms. Souter was in her delivery. Having these wonderfully provocative bare shoulders on display, I was disappointed that she didn’t use them to accentuate the musical content in the classic chanteuse style.

On her self-penned “You Don’t Have to Believe Me” from her latest album, Ms. Souter returned to music that she does best. This time, with an exotic Middle Eastern flavor, supported by repeating the bass lines of Sweeney, an oud-like guitar solo by Ennis and a staccato treatment of percussion by Meehan, Souter shined. You could really see her being taken away by the snake charming rhythm of the music. Her voice modulated with vibrant harmonic utterances creating a hypnotic trance. Ms. Souter’s pure immersion with the music made all the difference in the world and the audience responded accordingly.

Ms. Souter rendition of the Miles Davis/Bill Evans “Blue In Green” fell short for me. Ivan Lins beautifully sensitive “The Island”, a seemingly perfect vehicle for Ms Souter’s evocative voice, disappointingly lacked the emotional depth of delivery that the song requires. Jason Ennis’s unusual Brazilian arrangement of the Jack Bruce rock classic “White Room” was a crowd pleaser. This type of re-working of a classic popular song does not seem to showcase Ms. Souter’s real appeal. Thankfully,on her final song of the set, Ms. Souter returned to her own material This time the chant-like “Usha’s Wedding” which she sang with a spiritual demeanor that evoked scenes of a sacred Native American ceremony, reaffirmed her affinity to the rhythms and music that she channels through her Caribbean roots. A legacy that embraces a myriad of ethnic influences and is a stronger influence on her than her more staid English heritage.