What a great idea! Broadway chanteuse Linda Eder, the Cleveland Jazz Orchestra and the North Coast Men’s Chorus, appeared in performance together, and the best part - it was a performance benefit for Transitional Housing of Cleveland. The Cleveland Jazz Orchestra under its founding director, Jack Schantz, got things going with a swinging version of “Sleigh Ride,” followed by a rendition of “Oh, Christmas Tree” unlike any you’ve ever heard before, unless of ocourse, you’ve heard this one! Schantz then picked up his trumpet for a pure and sweet arrangement (by band trombonist Paul Ferguson) of “I’ll be Home for Christmas”. Most folks know the “Dance of the Sugar Plum Fairies” from Tchaikovsky’s Nutcracker ballet. But what about “Peanut Brittle Brigade”? Same tune, upgraded by Duke Ellington’s cohort Billy Strayhorn as part of the Duke’s swinging Nutcracker Suite. Sweet, indeed! (The CJO played the entire suite as part of Cleveland Contemporary Dance Theatre’s “Night before Christmas” family program.) Strayhorn took Tchaikovsky’s notes and willfully bent them into a jazzy, moody restatement that really stays with the listener.

Concluding the first half of the program, Music Director Richard Cole brought his North Coast Men’s Chorus onstage for two entirely too short numbers. Dressed in full tuxedos, with blue satin ties, the men sang “I’ve Got My Love to Keep Me Warm” and with four of the singers turned into dancers, brought down the house with “Boogie Woogie Santa Claus”. Robert Bess, Bryan K. Fetty, Kevin Meehan and Bob Taylor jitterbugged up a storm, prompting shouts and bravos from the appreciative audience. I’m sure Santa had never boogied like that before!

After intermission, the Cleveland Jazz Orchestra was joined on-stage by Linda Eder and her bandunder the leadership of Jeremy Roberts. They’ve been musical partners for 18 years, and it shows. Every nuance, every whisper, every emotionally-packed note was totally coordinated. Several of her band members sat beside their cohorts in the CJO, at stage left, while a cellist and percussionist were on stage right, leaving piano, drummer, bassist and keyboard players in the center. For the most part, Ms. Eder stayed close to the curve of the concert grand.

Wearing a shapely black chiffon gown with blue lace roses appliqued and trimmed with sparkles, Ms. Eder entertained for nearly an hour, non-stop. “Here Comes Santa Claus,” showcased her whistling ability, as well as her singing. Mel Tormé’s “Christmas Song” was given an intimate, straightforward and simply gorgeous performance. Ms. Eder made us laugh when she mentioned that she’s done one Christmas album, and doesn’t expect to ever do another one, as she’s a ‘Christmas song snob’. She says she doesn’t like many of the new songs, but as long as she continues to provide such sterling performances of the older ones, I doubt she’ll have any arguments from anyone.

“Edelweiss” from Sound of Music was gentle and breathy, and her high soprano floated effortlessly over the band. Using the sheet music ‘just in case—I am 43 now—and sometimes I forget the lyrics,’ she confided as she embarked on a trio of jazz classics: The Best is Yet to Come, The Man I Love (with trombone obbligato by Daniel Levine) and Just in Time with trumpet riffs by Barry Danielian. Not to worry, no words were lost along the way, and the music-making was superb!

Confessing that she loves Broadway, and hopes to return there next year, Ms. Eder then gave us a preview of the possible vehicle: Camille Claudel, a musical by her husband Frank Wildhorn. “What’s Wrong with Being a Little Bit Different?” followed by “I Wonder If, When All Is Done”, provided convincing reasons for her optimism. (Claudel was a renowned sculptor in her own right, as well as student and mistress of Rodin.) She then proceeded to totally blow us away with “Man of La Mancha” from the musical of the same name. Sultry, girlish, teasing, she was Aldonza/Dulcinea to the life. While holding an impossibly high note near the end, she changed key and tempo in an impressive display of musicianship.

For the final segment, the North Coast Men’s Chorus came back on stage. “O Come Emanuel” in minor mode showcased Ms. Eder’s voice in a high descant, soaring easily over the men’s voices. “What Child is This?” featured flute and cello. “Do You Hear What I Hear?” turned into a gospel fest, followed by “Little Drummer Boy” spotlighting the percussion and drums. A special arrangement of “Silent Night” commissioned by Ms. Eder as a tribute to the joy she found in singing in her high school choir, featured the beloved carol in ‘round’ form. Splendid!

For information about Transitional Housing, Inc., call 781-2250. SRO Entertainment may be reached at 990-2321. Linda Eder’s site is http://www.lindaeder.com and http://www.clevelandjazz.org, http://www.ncmchorus.org
from Cool Cleveland contributor Kelly Ferjutz artswriter@core.com

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