The reviews have been coming in for "Once Upon A Summertime - The Music of Blossom Dearie", with Sharon Sable. Though grateful for them, many have seemed like the writers were cooking breakfast and reading the newspaper while composing their reviews, or something like that. This most recent one was very different. Raul De Gama writes as one who is deeply immersed in music; both as a subject, and in the experience of a listener. Sharon and I happened to be together when we received the notification of the review in our email, and so were able to share the in experience of reading what spoke validation and encouragement directly to each of us, and to both of us.  Thank you, Raul!

https://jazzdagama.com/music/sharon-sable-joe-holt-once-upon-a-summertime/ (text below)   

 "Blossom Dearie – the dedicatee of this wonderful album – had a voice like no other vocalist in popular music. Both in appearance and in the manner of her voice she resembles a sort of proverbial ingénue – not “unsophisticated”, in the sense that is described in lexicons, but beyond “endearing” as the French, in their impossibly poetic manner, describe as: “qui laisse voir librement et naïvement ses sentiments; une pauvre fille ingénu et sans malice.”

 As tributes go there are not many women who have stepped up to perform one better than Sharon Sable, who has both the voice of girlish timbre, the style of airy shaping of melodic contours laced with admirably restrained embellishments and affectionate communication of the poetry ensconced in the songs. This refers to the songs associated with Miss Dearie, as well as songs that may be attributed to her as well of numerous others. Once Upon a Summertime – The Music of Blossom Dearie is also ethereally an appropriate a title for an album given that someone like Miss Dearie also come once in a lifetime.

In songs made in the intimacy of the duet – in this case with an exquisite interpreter of song in the form of pianist Joe Holt – make everything so much more magical. Mt Holt is exemplary on his own. Indeed, there are very few like him [Steve Kuhn, who has glorified recordings with the great Sheila Jordan is another.] However, speaking of Mr Holt: his has a silken feel for melody and notes magically roll off the keyboard, caressed by his fingers. His harmonic intellect is flawless and, as a result, his choice of chords [and the harmonic] inventions and inversions that he employs will leave you breathless – if Miss Sable has not yet done so already. Mr Holt’s sense of time makes this music almost unspeakably rhythmically beautiful to behold.

You cannot really go wrong with repertoire when producing an album like this one. But you may have too much of ‘a good thing’, if it [a given song] goes on for far too long. However, both Miss Sable and Mr Holt are acutely aware of this and their brevity when exploring each song indicates that both know when to start and when to usher in the perfect dénouement for a song. Moreover, they intersperse dallying, balladic material with slightly saucy, but ever-so-endearing narratives.

On several songs – where the duo becomes a trio – the inimitable contrabassist Amy Shook graces the studio soundstage with her majestic presence. Miss Shook brings uncommon gravitas and elegance to songs such as the eloquently Down with Love and L’etang [on Miss Shook shows off her magnificent con arco technique], the puckish Boum, and the magical Tea for Two. Any one of those charts might easily qualify as the apogee of the album – in no small part because the contrabassist adds much to what Miss Sable and Mr Holt already bring to it.

This album is one for the ages – not only as a Blossom Dearie tribute but as an album by a truly miraculous vocal artist, made of glorious warmth and intimacy.

Deo gratis…!"

 The director of the Mainstay, Matt Mielnick, included his perspective on me, and the "Frist Friday with Joe Holt" series that he initiated upon arriving here, in this week's Mainstay email blast. In order to preserve this beyond whatever email folders it resides in, I'll share it here:

"Joe Holt’s name is well known to Mainstay audiences, and to music lovers throughout the Delmarva Peninsula. I was introduced to Joe shortly after I was given the keys to The Mainstay in October of 2021. I had little direct information about him, but recognized that he was listed on the Concert Logs I was given as having a show every Monday night for the four years leading up to the pandemic. Alongside his name, each show highlighted a different guest performer, usually with widespread local credentials, but occasionally musicians that I recognized from as far north as my home in New York – and not all of them were jazz players. Well, I thought, this guy invites these people, serves as the host of the event and then moves aside for them to do their thing, perhaps jamming with them for a few tunes. I couldn’t have been farther off the mark.

Joe used our first meeting to give me his resignation. My first thought was that it must have been a challenge to find a really impressive different guest to spotlight every week. But after asking people about his shows, the truly surprising report I consistently received was not about the brilliance of his guests, but about how inspired the collaborations were. These were not jam sessions. They were well-planned, audience-focused productions, and Joe’s marvelous, at times capricious playing was the lynch pin. For you visual artists out there, try to complete a painting or sculpture every single week for four years that you’re proud to present to the public. I feel a panic attack coming on just thinking about it.

This is how local favorite Beth McDonald phrased it: "The most in-tune accompanist I have ever encountered, and not just because he hits the right notes (haha), but because he is able to meet those who share a stage with him exactly where they are. He isn't thrown off by switching genres or trying new arrangements. Musically speaking, he takes the hand of the one he's accompanying and together they find that sacred place of connection with their audience. It's a beautiful thing to witness, both as a fan and a fellow performer. He's quite simply the best."

Four years of Monday night shows (not most people’s preference for a night on the town), and Joe’s fans were always there. That's a compelling endorsement. The second time I met with Joe I tried my best to persuade him to continue doing these shows, but only on the first Friday of every month. The idea seems to have worked. Those that recognize his passion are already convinced. Those first-timers to his Friday night shows keep returning, regardless of who he shares the stage with. And Joe always shifts the spotlight onto his guests. But there’s another wide spectrum light that falls on him and the work he puts into each and every show. If you could read the label inside his jacket, I’m sure you’d find the following words printed – Joy, Sensitivity, Humility.

By the way, Joe and vocalist Sharon Sable have a new recording about to be released this month celebrating the music of Blossom Dearie, titled Once Upon a Summertime. If you come to Joe’s show this next Friday you can ask him about it."

It's always interesting (and in this case, nice) to see something through another's eyes. So thanks, Matt.   :)