Deborah Shulman (vocals, co-producer);
Jeff Colella (piano: 1,3,4,5,6,7,9, arranger: 1,3,4,5,6,7,9); Terry Trotter
(piano: 2, 8,10, arranger: 2,8,10); Chris Colangelo: bass (1,3,4,5,6,7,9);
Kenny Wild: (bass: 2,8); Larry Koonse (guitar: 2,3,5,6,8,10); Kendall Kay
(drums: 3,4,5,6,7,9); Joe LaBarbera (drums: 2,8)
In Ashkenazi Jewish, the word shulman can be loosely defined as “synagogue person;” perhaps a rabbi or esteemed individual devoted to that place of worship. The works of vocalist, musical theatre performer, arranger and vocal coach, Deborah Shulman have always intrigued this writer. Across six fine albums including this one - and the now three that I’ve reviewed - she has consistently demonstrated a special, almost devotional reverence for song. Even her unique The Shakespeare Project (Summit Records, 2019) where she sang his wondrous words, validated my thinking. With We Had a Moment, Shulman continues to express and honor song across ten fine tracks drawn from Broadway, the Great American Songbook, pop, et al.
Anyone Can Whistle is curtains up. Jeff Colella’s block chords open before Shulman breaks into Stephen Sondheim’s pensive ballad from the eponymous Broadway play. Shulman, a stone musical theatre artist, covers it beautifully. Her dynamics and time there are outstanding. Colella’s ending outro is a superb touch. This is a highlight track right off the bat.
Kenny Wild’s strut-walking triggers No Moon at All is a light-swinger. Shulman covers the A section in great style before the crew joins on the bridge. Terry Trotter delivers a hip azure solo. Larry Koonse’s guitar and Joe LaBarbera’s time help drive. Without a Song, another from Broadway that has become a jazz workhorse, has Shulman shining brightly over Colella’s comps and Kendall Kay’s brushes. Bassist Chris Colangelo presents a fine solo, as does Larry Koonse. The tightrope-walking solo modulation by Shulman is killer and a fine arranging/production touch. This is a spotlight track.
The Apple is the subject of a melding of Billy Joel’s New
York State of Mind with Lieber-Stoller’s On Broadway. Shulman covers
in fine fashion. With So Little to Be Sure Of, another from Sondheim’s Anyone
Can Whistle, has been recorded by many vocal artists (Bernadette Peters,
Barry Manilow, Melissa Errico, et al). Shulman’s presentation is a light bossa
and she’s terrific. Catch her phrasing here. Koonse slithers lyrically in solo.
Shulman
has an inviting voice. Her interpretive and dynamics palette ranges across a
splendid spectrum. One can easily discern that she is an artist with vibrant musical
theatre DNA, while simultaneously being able to pump out fine jazz and
contemporary stylings. This album includes both currently and previously recorded
material and Shulman’s consistency across same is spot on. The various
supporting musicians – all L.A. A-Listers – are stellar throughout.
The Goodbye Love/Not Like This is a mashup that has Shulman expressive in a haunting, heartbreaking way. Colella adds his own musical comment. This track is as dramatic as it is deeply moving. Randy Edelman’s The Laughter and the Tears continues the reflective, romance mood. Originally recorded by the composer, it was later covered by Dionne Warwick, Nancy Wilson and others. Shulman’s presentation is touching.
The final three tracks on the
session fall into the jazz vein. Harold Arlen and Ted Koehler’s Between the
Devil and the Deep Blue Sea is a swaying swing. Shulman is cute-lively and
Terry Trotter spins a nice ride. Cole Porter’s Miss Otis Regrets, another
solid selection with a dark romantic root and a theatrical history, has Shulman
telling the tale without faux drama. You Must Believe in Spring, from
the Bergmans and Michel Legrand concludes the session on a brighter, hopeful
note. Koonse offers a tasteful ride. Shulman covers the classic in a sublime
manner with Trotter’s keys shining bright.
We
Had a Moment is a splendid way to spend moments exploring
and reflecting on the interpersonal dynamics and the ups and downfalls of love
via song; all this presented by an extraordinary, and highly evocative artist who
honors song and love. Nick Mondello
Anyone Can
Whistle; No Moon at All; Without a Song; New York State of Mind/On Broadway;
With so Little to be Sure of; Goodbye Love/Not Like This; The Laughter and the
Tears; Between the Devil and the Deep Blue Sea; Miss Otis Regrets; You Must
Believe in Spring
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