There are just some concerts that are worth the time to write about and this is one of them. Not, it wasn’t a classical or early music concert. In fact, this was a jazz concert that I had the extreme luck to attend last night with my husband. The group was the everlasting Manhattan Transfer.
Appearing for the first time at The Dakota, a small, intimate, classic jazz club located in downtown Minneapolis, this was the fourth show in 2 nights for the iconic jazz vocal quartet. Made up of the same members that have been around in the public eye since 1975, Tim Hauser, Janis Segal, Alan Paul and Cheryl Bentyne Рthe group was actually formed in the early 70s by Tim Hauser, a former marketing man from New York City. (Cheryl was actually added to the group in 1978 after soprano Laurel Mass̩ was badly injured in an automobile accident.)
I have to give you little of my personal history
with this group. In the early 80s I was contacted by a former voice teacher of mine saying that PBS’ new children’s series "Reading Rainbow" was going to be filming in San Diego and was looking for a vocal group for the show they were doing about music. She managed to get four of her former students together and we quickly arranged a version of The Transfer’s "Trickle Trickle" for the audition. We won the part and later performed with Levar Burton on the show. This lead to us going on to becoming a local Manhattan Transfer cover band for a couple of years, transcribing what we could from their albums.
When the album "Brazil" was released, I was able to see this concert tour in 1988 in the amphitheater at San Diego State University. This was the last concert I attended until last night. And "Brazil" still remains one of my top five favorite albums to date.
It was actually amazing how I heard about the tickets – I was on my way home from rehearsal this past Saturday night and was listening to the jazz station in my car when I hear the announcement about the concert at the Dakota. I was so sure that this was going to be a sell-out, but still decided to get on-line and see how expensive the tickets were going to be, and if there was any possibility of getting a seat in some table no one wanted. I was amazed. The last show still had seats available and for $50 each I managed to get us 2 seats in the bar, facing the stage. I couldn’t have asked for a better view – slightly raised above heads thanks to the high bar seats.
We had a great view to the small hallway that housed the green room, so we could see them when they came out, waiting for the announcement to bring them on-stage.
The show was more than I could have hoped for – voices were still fresh (they had just done a 7pm show this same night), harmonies were ever so tight, personalities let loose along with a few personal jokes. It amazes me that this group that has been singing together for over 30 years still keeps it all fresh. Even the encore, "Operator", The Manhattan Transfer’s first number one hit, felt like it was as new as the day they first performed it.
I know, I’m gushing.
Let’s face it – there are not very many people that I would consider my idols. But I look at this group of facinating people that have held together over the years and still enjoy being and singing with each other. And I look at the group I sing with now, The Rose Ensemble. Not that we’re by any means a Manhattan Transfer, but we are a great group of people that also love making music together and have been together for quite a number of years.
After the show, my husband and I were watching the people and commenting on our own about what we just experienced when a young man appeared next to me. He was holding a pristine copy of the album (not the CD) "Brazil" in his hands. I asked him if he was going to get it signed and noted that Cheryl happened to be sitting at a table not too far from us. He was rather hesitant and I just nudged him in the direction and told him to take a chance. He went for it.
I watched to judge the reaction from the table and was enjoying the interaction he was getting as he bowed down in worship of his diva. I decided that I should also take part in this conversation and at my husband’s bidding, went over to the table to share a few words, as well. Cheryl was amazingly gracious and although I didn’t (at the time) have anything to sign, I thanked her for her incredible performance and for entertaining us in this wonderful, intimate setting – reminded of the fact that they don’t generally do the club scene.
Ending back at the bar, I was confounded by the fact that I came totally unprepared for this situation. No camera (was told no pictures or recording devices and didn’t want to have one confiscated, just in case), none of my various collection of CD jackets, nothing to write on. Luckily, my husband had the forethought for me to use one of the bar menus for autographs. Pretty brilliant, actually. Proves where they were when they signed this, for who knows if they will ever be in a club setting like this again.
I sought them all out, and one by one, achieved autograph success. Thanked them for their generosity and for the entertainment. Interesting when I explained to Janis Segal that this was all I could find for her to sign, she asked me if I wanted their set list – why, yes! Thank you! And she proceeded to get it from their green room.
This concert, and this evening was definately a highlight in my life. And an experience I won’t forget. I’m still flying high.
"Tutu" – Cheryl Bentyne rendition of the Miles Davis horn solos performed live.