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At the Folly, Karrin Allyson shines as singer, pianist

By LIBBY HANSSEN
Special to The Star
Sunday, May. 08, 2011

Karrin Allyson’s vocal ability and musical skill have transformed myriad influences into a highly developed jazz vocabulary all her own, drawing from sources beyond the standard songbook.

Her Folly Theater concert Saturday night kicked off a tour showcasing her new CD, “’Round Midnight,” a collection of mostly ballads by such composers as Paul Simon, Charlie Chaplin and Thelonious Monk.

The multiple Grammy-nominated artist displayed her versatile skills as singer and pianist, backed by a band of talented local and international musicians: Rod Fleeman (guitar), Steve Nelson (vibraphone), Gerald Spaits (bass) and Matt Wilson (drums).

Allyson, harkening back to her musical training as a classical pianist, led many of the pieces from the piano where she served as a self-described “rhythm player.” Despite her training, or maybe because of it, her solos had a decidedly pop influence.

Steve Irwin, the Folly’s development director, led a preconcert talk with Allyson and former Kansas City Symphony music director Bill McGlaughlin. They discussed Allyson’s start in Kansas City at the Phoenix, her album-making process, singing in different languages (especially Portuguese and French) and the added pressure of being her own piano player.

Her program pulled heavily from the late-night introspection of “’Round Midnight.” Highlights included the dramatically wrenching “Turn Out the Stars,” “The Shadow of Your Smile” and a beautiful arrangement of Charlie Chaplin’s “Smile.” Even the up-tempo numbers, such as the rhythmically pointed “Long as You’re Living,” were tinged with heartbreak. Other audience favorites included Jay Leonhart’s “Robert Frost” and the fun samba “O Pato (The Duck).”

She also performed a few seasonally significant (and weather appropriate) pieces: “Spring Can Really Hang You Up the Most,” “Double Rainbow,” “I’m Always Chasing Rainbows” and Paul Simon’s “April Come She Will.” In keeping with the overall vibe of the show, these presented a rather melancholy portrait of spring.

A lesser ensemble would have buckled under the heavy rotation of heartbreak and outright despair. The players’ vibrant fluency supported the songs’ subtle emotional changes. They also delivered strong solo work, with especially creative chord play from the vibist Nelson, who was playing some of Allyson’s news charts for the first time.

The sidemen generally held back, deferring to Allyson. Wilson cheekily quoted the melodies, though at times his cymbal work washed out the diction of the vocal line.

Fleeman’s bluesy solos and Spaits’ solid foundation supported the elegant textures.

Allyson finished the stellar evening with “Goodbye,” sending her audience off on a pensive tone.