The Japanese atmosphere of the lovely Kitano Hotel faded away as the Libby York Quartet took to the stage Wednesday evening. A timeless jazz club suddenly appeared out of the Asian mist. York, elegantly dressed in black, dazzled.
The performance was a bit more melancholy than York’s recent album “Memoir”, with an even richer atmosphere of saloons and lonely nights. Some of the songs were new to me, such as Neal Hefti’s “Girl Talk” and the delightfully seedy “Something Cool” by Billy Barnes. York performed these with relish, referring to the latter as the ultimate song for lounge lizards.
With “Thanks for the Memories”, the Chicago-born chanteuse has really taken ownership of this classic, and I hope it will remain one of her standards. She sings it like no one else, with all schmaltz and bonhomie long gone. What is left is a delightful, unabashedly wistful private moment with an old lover. The magical Warren Vache on cornet added some deliciously boozy notes and a few tears of his own before handing it over to pianist John DiMartino, who attempted a gentle dose of cheer before finally giving in to his own heartache. Matt Wind on bass was reflective, yet provided just the right amount of lift to keep the number from becoming maudlin. It was a wonderful essay in melancholy with each player adding a unique chapter to the bittersweet story.
The brightest moments came with Vache joining York in the classic duet “Let’s Call the Whole Thing Off”. Vache went straight for laughs with improvised lyrics while York tried to rein it in, striving to save the “whole thing”. With Vache looking for the exit the entire time, this was no small feat.
Vache has become a lion in the jazz world, and his mischievous glances and quick flashes of humor are almost as entertaining as his lovely cornet. He still experiments with his instrument, and he creates achingly beautiful sounds that seem to linger in the air long after he has set the horn down. DiMartino conjures up memories of Vince Guaraldi when the late pianist wasn’t playing for peanuts. His touch is delicate yet strong, with magnificent color and rhythm. His expressive face is engaging and unpredictable. On bass Matt Wind didn’t always get a solo, but when he did his tone was rich and clear. He even treated his listeners to some lovely, all-too-seldom-heard artistry with the bow. These musicians clearly love playing with one another. They left the audience at the Kitano wanting more, but surely grateful for the memories.
