Svetlana and the Delancey Five Salute Ella and Satchmo and Put Their Own Sophisticated Stamp on Classic Swing
It figures that drummer Rob Garcia would grab the opportunity to kick off Svetlana & the Delancey Five‘s show at Lucille’s Friday night with a counterintuitive series of offbeats into a hi-de-ho intro, Mike Sailors’ spiraling trumpet solo rising to carnivalesque heights and foreshadowing a darkly lustrous, unselfconsciously erudite show. Why has swing jazz become so enormously popular again? Sure, you can dance to it, and many couples – as well as an exuberant, octogenarian tapdancer – were cutting a rug at this show. But swing is also escapist, and frontwoman Svetlana Shmulyian makes no secret that this is her her vehicle for finding solace and transcendence, and that everybody is welcome to get onboard. But what differentiates this band from the hundreds of others working territory that’s often been done to death over the years is that this group isn’t just a vehicle for vocals. In over four years together, this semi-revolving cast has built a cohesiveness, a camaraderie and a distinctively sophisticated sound largely unrivalled in their thriving demimonde.
For example, Blue Skies is a swing staple, but Shmulyian didn’t sing it as straight-up exuberance – and essentially warned the crowd that she wasn’t going to. And then made good on that, with an uncluttered, balmy optimism grounded in the sense that there definitely had been a storm before the calm. The rest of the program was thematic, a characteristically ambitious celebration of the sixtieth anniversary of the mid-50s Louis Armstrong/Ella Fitzgerald collaborations. A potential minefield, but Shmulyian and special guest trombonist/singer Wycliffe Gordon rose to that challenge, indomitably and with a deeply bluesy edge echoed throughout the band.
Pianist Ben Paterson spiced his purist riffs with the occasional gracefully adrenalizing neoromantic cascade, while Garcia delivered grooves that roamed far south of the border, as well as from Buddy Rich splash, to a more chill, vintage Harlem pulse. And his arrangement of the Beatles’ Because brought out every bit of angst in Paul McCartney’s moody ballad, reinvented as a darkly bristling tango. Bassist Scott Ritchie kept his changes purposeful and low-key, and was having more fun than simply walking the changes. Saxophonist Michael Hashin alternated between sailing soprano and dynamic yet terse leaps and bounds on tenor.
But it was the chemistry between Shmulyian and Gordon that hit the highest points of the night, whether his masterful and deceptively subtle plunger work, or his droll, tongue-in-cheek vocals and effortless shifts into falsetto, or the night’s most hilarious moment, at the end of a solo toward the end of the show. As obvious and vaudevillian as that was, Gordon waited patiently to make that moment as ridiculously amusing as it was. And the reliably dynamic, eclectic Shmulyian was pretty much jumping out of her shoes from the git-go, rising to the very top of her register, vibrato going full blast. Yet it was a simmering take of the midtempo ballad Under a Blanket of Blue that arguably carried the most impact.
Likewise, the best song of the night might well have been a brand-new Shmulyian original, a bittersweetly swaying, guardedly optimistic New York-centric ballad allowing for a flicker of hope in the face of omnipresent bad news. Although she also grinningly acknowledged the results of the Brexit referendum, drawing some pretty wild applause from throughout the club. Grounded in the here and now, Shmulyian and her band played a show to get lost in: not bad for somebody who grew up in Moscow spinning Ella Fitzgerald vinyl on her family’s turntable and arrived in New York without knowing a soul here. The band’s next New York gig is a free show on July 23 at 8 PM at the auditorium at Kingsborough Community College, 2001 Oriental Blvd. in Manhattan Beach; the closest train is the Q to Brighton Beach.
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