So, I've Heard: Winter Nights at NYC's Birdland

While it may be true that most birds fly south for the winter (and who can blame them?), there are still plenty of songbirds chirping on stage at Birdland in cold Manhattan. Like our actual fine-feathered friends, music fans flock where the atmosphere is welcoming. There are twice as many reasons to land there than in earlier days, since the long-established theatre district club opened a second performance space downstairs. So, there's a lot going on all the time concerning jazzbirds and others. I've been accumulating "frequent flyer" miles myself.

The year 2019 may be over, but that's just a pesky detail for those willing to extend the celebration of the centenary of music icon Nat King Cole's birth. After all, it's only January. And, in their mega-entertaining combined show, singers Clint Holmes and Billy Stritch make a strong case for this encore. The chemistry between these two solid pros – clearly enjoying each other's company, cajoling each other, trading quips, and sounding great when their voices join together – is a treat to witness. Since the honoree recorded voluminously, the Cole canon is plentiful and varied, providing many choices beyond the standby signature songs. The set list was a smart mix of the lighter-weight commercial hits like "L-O-V-E" (an audience sing-along cutely adorned by prompting the timing by physicalizing the shape of each letter with drumsticks) and a joyfully jazzy rejuvenated joint suggestion to "(Get Your Kicks on) Route 66." They seem to share an inside joke or a few, judging by the gleams in their eyes and little smiles that would burst into guffaws if they didn't need to keep singing. On the serious side, there's nothing that can beat Billy with a ballad or the early jazz repertoire of Cole, taking over the piano from the bandleader. Much emotion was on hand with Clint digging and digging into the nature of "Nature Boy"'s message and the writer's odd rags-to-riches backstory. This is an old-school nightclub approach that could school early-career entertainers and wannabes in how to honor a legacy and rejuvenate it, without hero-worshiping becoming heavy-handed hollow hologram or making it all about "you." All three men came out as winners.

A performer whom Billy Stritch has accompanied a few times in the past had another Billy in mind for her solo show at the venue: Billy Strayhorn. And his songbook inevitably goes hand in hand with Duke Ellington's. Anais Reno was the vocalist tackling the formidable works of these jazz giants and her accomplished treatments are all the more startling in view of the fact that a few weeks earlier this performer who's been winning contests and much critical praise reached the age of 16. While much reaction understandably surrounds her serene confidence and skill and the serious affect of an "old soul" or prodigy, that's just intriguing info for a start.

What matters beyond that is a decidedly compelling vocal timbre and command of her instrument and the material. She can scat-sing, swing, and get bluesy and drip with melancholy to the point that you want to demand she pull out her wallet and show her ID as proof of age. But what she IS able to prove is a feel for sophisticated, classic material, even making the case that Strayhorn wrote the despairing "Lush Life" in his own late teens, so why can't she make room for the gloom rather than the gleam in her song choices, including that heavyweight? I'll be darned if she doesn't acquit herself quite well. Her headstart came partly from home life with musical parents and mom Juliette Kurtzman-Reno was a welcome guest with her skills on flute. Throughout, the singer's deep tones are spine-tingly, especially when she sings a capella, offering even more of the solidness of her musicality. There must be more than the pressure of a big geometry test that lets her dive so deeply into the been-there sorrows of "Mood Indigo," but it's a relief to see her brighten with the zip of "Take the A Train" from the long-ago pre-MetroCard subway days. Sensitivity reigns on the poetically delicate "A Flower Is a Lovesome Thing." I'll love some more sets by Anais Reno; her ability is a remarkable thing.

Also on the youthful side, but favoring mostly sunny musical climates, is cheery Hannah Jane Peterson, now 19, who was booked for a one-night show at Birdland, too. (Both she and Anais came to cabaret-followers' attention when we saw them compete in the Mabel Mercer Foundation's high school competition and both appeared and hit musical home runs in that organization's Cabaret Convention concerts, in the company of veterans.)

The perky Peterson show about "Leading ladies" of Broadway who've inspired her had everything from A to Z: A for "avid fan," Z for "zeal." Actually, it was an A-to-Z alphabetical rundown of stars, cued by the kids' picture book about theatre divas, "A is for Audra" [as in star Miss McDonald], with bits of rhymed text fondly read aloud by Hannah Jane. The ambitious structural demands of her act meant taking on lots of iconic songs by iconic women – big high-heeled shoes to fill and follow in the fabled footsteps of.

That is quite the packed parade, even with some numbers abbreviated and sometimes avoiding the most obvious choice of a signature song for the sake of surprise and variety in style and energy. Some suited her voice and natural personality more than others, but a supportive crowd cheered her on in each borrowing. I've seen Hannah Jane Peterson with material that let her own self emerge more, which I found more rewarding than this Superstars 101 review course, but it's a fun idea nevertheless. And she's talented with a bright sound and likable personality that comes through. The range of styles was easily aced by expert pianist Jon Weber who, I am convinced, can do anything and everything with a piano except balancing one on his nose. FYI, Miss HJP in her A to Z was more than OK and will be a VIP in cabaret if she keeps at it. Developing her own unique perspectives on songs and showing us who SHE is as she continues to grow and gain experience could – who knows? – maybe one day let her join the starry ranks of her role models. The indefatigable won't be held back, as she demonstrated with decided determination in her encore/mantra: "Don't Rain on My Parade," tweaking the lyric line to exclaim, "Hey, Birdland! Here I am!" Indeed she is – and will be.

Amanda McBroom and John Bucchino shared the bill one night at Birdland (upstairs) to present, with a couple of exceptions, songs they have written. Charmingly, Miss McBroom amused the room by saying, "We thought we'd do the work of our two favorite writers." Both are creators of strong, emotional stuff that is literate and mature and witnessing their own (and owned) presentations is potent. Other singers seeking rich, thought-provoking story-songs with a point and a distinct point of view would do well to explore their material that can go to dark or philosophical places. It was interesting to see him as her piano accompanist and his own. Sensitively but self-deprecatingly, he admitted with bemusement that his failed romances sometimes led to the silver lining of inspiring a meaty new song or two by way of catharsis. Mixing heart and heartbreak, he demonstrated that in his intimate singer-songwriter style. The more dynamically dramatic McBroom style was, as usual, captivating, creating a mood and an invitation to hang on every line and image. Of course, the night ended with her signature song success, "The Rose." But that flower was just one thing blooming with grace and fortitude that winter night at Birdland.

Speaking of people named John, I was reminded of another who is no Johnny-come-lately. John Davidson made a rare New York City appearance a while back on the same Birdland stage. Unlike many long-careered performers who've been with us on a bunch of records, TV shows, movies, stage, and clubs, he was not there to rest on his laurels or recycle songs from his Disney films or standards and pop hits he recorded in the 1960s and after. Instead, he brought his guitar and regaled the crowd with folksy fare he's written. They feature commentary on changing times and growing older, with playfully tongue-in-cheek observations. His patter similarly amiably mined the fields of family life in the slower lane, self-acceptance, and the pesky realities of aging and adjusting. This middlebrow, furrowed-brow stance could be repetitive and corny and some of the songs were more like lightweight novelties suggesting a plate of appetizers with not much offered that came closer to a meaty main course. But the charm is undeniable, the voice still pleasing, the dimples intact, the great hair (if silvered) and great smile still very much the same as ever. I'd enjoyed seeing him not long ago in "The Fantasticks" as the Old Actor and his energy and the twinkle in his eye made for a memorable performance. (In 1964, he'd played The Boy in the TV version!) One touching moment came when endearing Davidson talked about the political divide within his family, cueing his song about his belief that blood is thicker than can't-hold-water Trump ideas and love will conquer all. I'll drink a two-drink minimum to that!

Ongoing events at busy Birdland include: Eric Comstock with his piano and sleek singing many Saturdays on the early side; the house band and guests blasting away; the Monday open mic "Cast Party" with a little bit of everything and a lot of entertainment and comic asides from host Jim Caruso; the outrageous humor of fearless "Line-Up" host Susie Mosher presenting and kibbitzing with NYC's endless supply of established and newer performers. I had a grand time last week, noting the balance and bliss, pop and pizzazz and jazz, catching previews of acts booked there and elsewhere in coming weeks, which is a good reason to go if you're "shopping" for full acts to see later. Upcoming runs at the West 44th Street venue in February bring such top vocalists as Catherine Russell and Jane Monheit. It's a friendly place, too.

And the new year will bring more reasons than ever to make yourself a comfy nest at the Land of Bird....So I've heard. (Take my word.)

Calendar/info at www.BirdlandJazz.com