One of my co-workers loves to taunt me during tense moments by humming show tunes. He, of course, knows all about my attitude regarding these things (in short: yuck!) and is just trying to lighten the mood. I have to cut the man a mile of slack because a) in a previous lifetime he played said show tunes up in the Catskills and b) he's a fine example of normality in a sea of geek-dom.
Even though musicals have never been to my liking, my ears are smart enough to be able to appreciate the talent displayed by the musicians involved in these endeavors. Stunningly rich voices, melodies galore, and complex orchestrations can make for some tasty listening. Heck, if it wasn't for the actual lyrical content (from which all offenses germinate), I might actually like this stuff.
Uhm, was that diplomatic enough? See, I'm not unaware that there exists more than a little overlap between the earnest vocals of Broadway and the sultry twists of the vocal jazz world. Amy London's gorgeous voice shines an intense light on that intersection.
London's interest in singing came directly from her childhood experience of Fiddler On The Roof. The rest of Amy's musical upbringing included deep immersion in late 60's and 70's pop/folk music (James Taylor, Joni Mitchell, and especially, Laura Nyro), choral work, opera (a degree from Syracuse), Latin jazz, Broadway (a vocal part in the hit show City of Angels), and finally, jazz singing.
All of these influences show up in subtle ways on When I Look In Your Eyes. Supported by a stellar band whose nucleus includes Rufus Reid on bass; John Hicks (piano); Leroy Williams (drums); and husband Roni Ben-Hur on guitar, London had me begrudgingly enjoying songs rooted in musicals ("There's A Boat That's Leavin' Soon" from Porgy and Bess, "Ohio/Anyplace I Hang My Hat Is Home" from Wondertown and St. Louis Woman) right alongside the standards ("The Best Is Yet To Come", "Wouldn't You") and a Laura Nyro cover — "Lazy Susan." Even the title track came from a musical: "Dr. Doolittle."
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