When you think about going out to listen to a Jazz Show or Concert you usually get dressed in your favorite casual fare and envision yourself in a small smoky venue off the beaten track surrounded by similarly dressed-down patrons casually discussing this or that between songs while your waiter or waitress brings you your bill with every drink you order during the course of the night.
This would be the case if the Artist were unknown to the general public, and this was the case for many years for Michael Danso when he was paying dues in in many such places all over the Capitols of the world until he decided to act upon his dream to take his music - Jazz - to the larger world-stages through his unique Symphonic Jazz Pops Programming.
Having met with success through his “White Tie and Tails" ( Gershwin and Ellington ), Symphonic Jazz show on Concert Stages throughout Canada and the United States, Danso took things “up a notch" when he commissioned Orchestral Arranger/Conductor Charles T.Cozens to write and arrange the music for his “Harlem To Hollywood" Symphonic Jazz Program which consists of the music of Harold Arlen and Cole Porter
“Harlem To Hollywood" first debuted at Hamilton Place in 1990 to Critical acclaim and also met with great success in both countries when Danso took it out on tour to many of the great Orchestras and Concert Halls on this side of the Ocean, and being the energetic and eclectic performer he is, he took time to do other projects, including The 'Threepenny Opera,' 'Riverdance', and produce a C.D called “Give Me ThatJazz".
There was always the thought of Danso and Cozens performing Harlem To Hollywood together over the years, but it just wasn't possible due to schedule conflicts and the career demands of both parties.
Cozens is one of the most in-demand Orchestrator/Conductor-Arrangers in North America and has produced a staggering 40-plus CDs and has Arranged music and been Musical Director on and for such Award-winning shows as 'Swingstep,' 'Beauty and The Beast,' 'Joseph,'and 'The Magic Of Love' while working with high-caliber people like Eartha Kitt, Henry Mancini, Cab Calloway,and The Nylons while continuing a Concert career as Conductor for most of the major orchestras across Canada.
Both men have been busy doing their individual thing, but they have managed to make the time to appear recently with The Canada Pops Orchestra in Toronto, and, in this latest incarnation, they somehow managed to Bring “Harlem" Home to the Orchestra and the Hall where it all began: The Hamilton Philharmonic Orchestra at The Great Hall in Hamilton Place.
I will not attempt to say here that which has already been said about Michael Danso, Charles T.Cozens and “Harlem to Hollywood"
The music and songs of Harold Arlen and Cole Porter were more than beautifully presented and performed by Danso
His ability to put his individual stamp on a piece of music and completely mesmerize an entire audience by immersing them in moments of lyrical truth remains strong and vibrant.
This is not a poor man's Frank Sinatra or a Johnny Hartman clone, nor is he a Fred Astaire imitator.
He is, simply, an original, something seldom seen on todays stages, but welcomed with open arms by every audience before whom he appears.
Conductor Charles T. Cozens led the Hamilton Philharmonic Orchestra through a musically challenging program with Virtuosity, clear sight, sensitivity and strength.
The orchestra responded to his strong lead with alacrity, and some of the best playing we have heard to date.
The orchestrations written by Charles T.Cozens wove a chromatic tapestry of sound in, around and throughout the narration of the lives and music of Harold Arlen and Cole Porter as presented by Danso
Evergreens like 'My Shining Hour'and 'I've Got The World On A String' ( from “The Cotton Club Parade of 1932, according to Danso ), kept the toes tapping while a Blues-drenched Trumpet solo by The Hamilton Philharmonic Orchestras' Principle Trumpet Mary Jay, catapulted us straight to Harlem's soulfully sensual heart
Cozens used Wolfgang Amadaus' 'Eine Kleine NachtMuzik' as a humorous introduction to a Harold Arlen Medley that contained such material as 'That Old Black Magic';The Devil and the Deep Blue Sea'; and others
A tour-de-force 'Stormy Weather' almost stopped the show with its intensity.
The interplay between Danso and Cozens makes for a most delightful concert nexperience and the members of the Orchestra were obviously happy to be there as well
Cole Porter was no less well represented by Cozens and Danso
Dressed in a white ensemble from head to toe that caused the audience, and yours truly, to audibly gasp in appreciation, Danso entered to the haunting exotic sounds of tabla drums, flutes and fluttering horns playing the opening bars to Cole Porter's 'Night and Day' then proceeded to take us through an emotional roller coaster utilizing material such as 'I Get a Kick Out of You';'What is This Thing Called Love'; 'You Do Something To Me'; 'True Love”You'd be So Nice To Come Home To'; “Just One Of Those Things' and others to make his point that “ Cole Porter was one of the most sophisticated and well-travelled men of his day who could play you a picture for your mind with his music"
The highlight of the evening was a rendition of Porter's 'Love For Sale that Cozens arranged for strings and voice only, that literally blew the roof off the Great Hall when its'conclusion was reached.
A narration delivered by Danso in a'Film Noire' style which incorporated the use of an objective rather than the usual subjective view of the lyric written by Porter brought a very new freshness to the material which was appreciated by all who were already familiar with the piece.
This segued poignantly into Porter's 'Begin The Beguine' and the audience rose to it's feet and applauded roundly.
Danso and Cozens took their bows and exited, but returned at the audiences'insistance to do an impromptu encore, with Cozens this time at the piano, to play Harold Arlen's 'Anyplace I Hang My Hat is Home'.
Conductor Cozens and Danso were into the beginning of the piece and acquitting themselves admirably when Concertmaster Lance Elbeck exploded in a flurry of glissando notes that augmented the piece and added a new color as well.
He not only took Danso and Cozens by surprise, but the Audience and the Orchestra as well.
He was invited to center-stage and joined Danso in a musical experience that can only be described as Magical- this was the Jazz Experience at its best - technically sound, joyous, improvisational and wholly spontaneous.
When Danso, in his warm Glaswegian Scottish Brogue told Concertmaster Elbeck that “ I didnae know that a lad so classicly trained could swing like THAT," Elbeck replied “Well, Michael, I have always wanted to, and tonight seemed like it was just the right time" and...it was.
The audience rose as one to it's feet and so did the Orchestra
Harlem had just made it's presence felt because, you see, Michael Danso and Charles T. Cozens had Brought “Harlem" Home.
Tyler Ford, Manhattan, NYC
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