[Dixielandjazz] Manhattan Transfer reviewed - Dallas Morning News

[Robert Ringwald]

Manhattan Transfer Weaves Tight Harmonies in Dallas
by Mario Tarradell
Dallas Morning News, May 10, 2013
Vinyl records are back in vogue, so New York's Manhattan Transfer took a discography
approach to its two-hour concert Thursday night at Majestic Theatre. The jazz-pop
vocal quartet consisting of Alan Paul, Janis Siegel, Tim Hauser and Cheryl Bentyne,
accompanied by their piano-playing musical director Yaron Gershovsky, brought with
them an array of LP covers tracing the first half of a long recording career.
They were like placards, tools for show-and-tell that Transfer members used to take
the audience to a certain period in its artistic history. Sometimes a quick embellishment
to their stage clothes was in order. That was easily done with the help of a well-stocked
wardrobe rack. Mostly it was about setting a storytelling mood and offering a song
to go with it. A quick look at the 1975 self-titled album, not to mention the donning
of tails, furs and ankle-length skirts, led them to "Blue Champagne," a spectacular
vocal piece that quickly showcased the Transfer's harmonies.
When it comes to vocal power, the Manhattan Transfer set the bar. Soprano, alto,
tenor and bass come together to create a smooth, thick and rich concoction that's
both refreshing and riveting. They can sing jazz, pop, R&B and world beat music.
Once the harmonies kick in, they are so tightly wound that even a bulldozer couldn't
bust through.
Paul, Siegel, Hauser and Bentyne, the solid Transfer lineup since Bentyne replaced
Laurel Masse for 1979's Extensions, complement one another as a long-running, well-oiled
creative entity should. When one has a showstopping solo turn, such as Bentyne did
during "Heart's Desire" or Siegel during "Operator," the rest rally around the spotlight.
Ultimately the applause is for all of them.
Gems such as "Route 66," "Birdland," "Nothin' You Can Do About It" and the exquisite
"Chanson D'Amour" got full-passion love from the appreciative crowd. "Twilight Zone/Twilight
Tone," the group's quirky fun homage to the famed TV series' theme, was completely
cool. The Grammy-winning "Soul Food to Go" was stunning, as was the encore tune,
"Java Jive."
I was surprised that the Transfer skipped "The Boy from New York City," given that
it is the group's biggest pop hit and they were certainly flaunting its accompanying
Mecca for Moderns album cover on the platform. In the Manhattan Transfer vinyl records
listening party, that one's a must-have classic.
-30-



-Bob Ringwald
www.ringwald.com
Amateur (ham) Radio Operator K6YBV
916/ 806-9551

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