Allan Kozinn

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" height=51 BGCOLOR="#000000" TEXT="#F7F7FF" bgproperties="fixed" background="29002330dvldtc.jpg"> <div> <B>Allan Kozinn</B></div> <div> </div> </td> </tr><tr> <td valign="top" height=269 BGCOLOR="#000000" TEXT="#F7F7FF" bgproperties="fixed" background="8bd00c00dvldtc.jpg"> <div> <B> <TABLE BORDER="0" CELLPADDING="2" CELLSPACING="1" WIDTH="603" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="597"><div> <I><B>New York Times; Jazz in Review</B></I></div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 20 ><NOBR><div> <B>June 25, 1992 - </B><I><B>Shirley Horn Mel Torme Carnegie Hall</B></I></div> </NOBR></tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 729 WIDTH="597"><div> Jazz singing comes in many flavors, and on Tuesday evening there were two distinct but complementary approaches to finding the spice within a song. Shirley Horn opened the concert with subtly turned, blues-tinged and sometimes almost whispered accounts of ballads and torch songs. And Mel Torme ended the evening with an extroverted, exuberant set that hankered after and often captured the spirit of the swing era.</div> <bR> <div> Miss Horn's style has a quiet intensity that grows from the way she wraps her voice around a melody. In songs like "Don't Let the Sun Catch You Crying" and "You Won't Forget Me," she began with plaintive directness, but as the verses unfolded she shaded and embellished the vocal line in ways that invariably amplified the emotional underpinning of the lyric.</div> <bR> <div> Her piano playing was equally eloquent, sometimes shoring up the emotional resonance of the vocal line, sometimes illustrating the action of the text. She was supported inventively by Charles Ables on electric bass and Steve Williams on drums.</div> <bR> <div> Miss Horn's vocal style is unequivocally vocal: when she needs an instrumental elaboration, she plays it on the piano. Mr. Torme, by contrast, is part singer, part animated instrument. Anywhere from three words to a full verse into a song, he is likely to slip into virtuosic scat, sometimes fingering the air in front of his mouth as if he were holding an invisible trumpet. Air guitarists have nothing on Mr. Torme.</div> <bR> <div> In past years, Mr. Torme has devoted his festival sets to single performers or composers, but this time he ranged from a medley of Benny Goodman classics and Cole Porter's "It's All Right With Me" to Billy Joel's "New York State of Mind." Along the way, there were tributes to Judy Garland ("Get Happy") and Buddy Rich ("Twilight Time"), two colleagues about whom Mr. Torme has written books. Much of the time he seemed more of a thunderbolt than a velvet fog, although now and then -- in "Memories of You," for example" -- that celebrated smoothness came to the fore.</div> <bR> <div> The members of Mr. Torme's band -- John Coliani on piano, Phil Bodner on clarinet, Peter Appleyard on vibraphone, John Leitham on bass and Donny Osborne on drums -- were all given moments in the spotlight, and Mr. Torme, who is also a drummer, had an invigorating bash at the skins on Louis Prima's "Sing Sing Sing" during the Goodman medley.</div> </tD> </tR> </TABLE></B></div> <bR> </td> </tr><tr> <td valign="top" height=160 BGCOLOR="#000000" TEXT="#F7F7FF" bgproperties="fixed" background="29100a00dvldtc.jpg"> <div> <TABLE BORDER="0" CELLPADDING="2" CELLSPACING="1" WIDTH="926" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="VOID" RULES="NONE" ALIGN="LEFT" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER COLSPAN=2 HEIGHT= 52 ><NOBR><div> <A HREF="bill_kohlhasse_.htm" TARGET="_top" 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