When a chanteuse as talented as Teresa Eggertsen Cooke takes the stage, gently playing the piano and singing songs that you had almost forgotten were your favorites, there is almost nothing better.
Eggertsen Cooke, her smoky voice reminiscent of Carly Simon with the occasional touch of K.D. Lang, played to a very receptive house at the Metropolitan Room on Saturday night. Joined by trombonist Ben Lepley, the singer generously worked her way through classics such as Cole Porter’s “Night and Day” and “Ev’ry Time We Say Goodbye” as well as such diverse selections as Cyndi Lauper’s “Time After Time” and “The Rose”, made famous by Bette Midler back in the late 1970s.
She added her own exquisite touches to the Rogers and Hammerstein classic “Getting to Know You” from The King and I. Slow and thoughtful instead of cheerful, emotional and downright affectionate instead of plucky, this was an entirely new interpretation of this warhorse of a show tune. Needless to say she left behind all of the corn. It was delightful, and one of many highlights of the evening.
In turning to the Lauper hit, Eggertsen Cooke, with her witty and confident phrasing, really made it her own. It was clear and soulful compared to Lauper’s ever-present quirky style, and it showed how confident the performer is at rendering her own versions of classic songs that have been closely identified with iconic artists.
During the latter half of the performance she turned to the work of singer/songwriters Carole King and Elton John, her admitted favorites, and belted out King’s 1971 classic “Home Again”. With this song she really let loose and showed her passion. It was a splendid rendition.
Once in a while Eggertsen Cooke turned to the audience and offered a smattering of comments regarding close friends and family and the songs they loved. I would have preferred a more in-depth or humorous story or two, a bit of inside information on who this artist is and what her musical memories are. When a performer has such a lovely voice it makes the evening all the more memorable if a break or two is taken before starting up again and reminding the audience just how wonderful the sound is.
Frankly, I was somewhat baffled by the presence of Lepley on slide trombone. Often as many as four songs went by without his participation. When he did play is was usually no more than a few bars, the rest of the time he sat quietly on a stool. I don’t think Eggertsen Cooke needs any accompaniment other than her own piano playing. This was proven when she closed the evening with a moving performance of Sondheim’s “Send in the Clowns”, a song I thought I was sick to death of until I heard Teresa Eggertsen Cooke sing it. For me, this was the theme of the evening, songs I didn’t know how much I loved until now.
