Gig Review: Natasha Seale – Duke Ellington Songbook
Duke Ellington was, we know, a prolific composer and a stickler for detail and quality. His musicians were cared for, they stayed for a long time because he nurtured their strengths.
Ellington also co-wrote many numbers with other musicians such as Barney Bigard, Hal David, Juan Tizol, and more. To present his music to the highest standards, he used top-class musicians or musicians who became top-class through Ellington’s care and went on to do great things. He also worked with some wonderful singers and, had she lived in a different era, Natasha Seale could probably go up against any of them with her interpretation of Ellington and his music.
Her performance at Crazy Coqs, Piccadilly, London on a coolish February night was warming, engaging, and a delight.
Initially, the room seemed to be filled with those who had come because they supported Seale or those who loved Ellington’s music and were a little curious. The vibe was cool and typically British reservation was rife. However, reserve fell away as Seale worked that room, engaging individuals and groups with her warmth, her knowledge, and way of telling stories, and soon the audience was gripped to hear the next number the curiosity was not so much about whether Seale could deliver Ellington – she definitely could- but what story might precede the number. Seale flashed those eyes, she dazzled with her smile and energy and worked her way through a demanding set. By halfway through the second number the room had completely warmed to her. Seale regaled the audience with stories – there was one about a chap who was ‘slightly annoying’ but stored her mahoosive speakers and carted them from gig to gig for her back in the day when she appeared in shows like Les Miserables but also continued gigs in smaller venues. He became a fireman and could be still ‘slightly annoying’ – and tonight he was ‘putting the kids to bed.’
Stories flowed easily from Seale’s mind between numbers as idea after idea – tangents and asides – seemed to take her and she wanted to share with the audience. The engagement was good but the thing which floored the audience was Seale’s voice and delivery. It felt like a superhero was in the room – kerpow, and howzat?
Ellington would have been delighted at Seale’s renditions of ‘Drop Me Off In Harlem’, ‘Don’t Mean A thing’, ‘A Train’, ‘I’m Beginning to See The Light’, and ‘I’m Checkin’ Out Goodbye’ and her Latin-charged ‘Caravan’ and ‘Perdido’.
‘I’m Just a Lucky So and So’, ‘In A Mellow Tone’, ‘Do Nothing’ ‘til You Hear From Me’ and ‘Satin Doll’, were beautiful. Seale’s composition ‘Suspended’ was a revelation in the artistry of song composition with its punchy lines and equally punchy rhythm patterns (see YouTube link below).
Despite her energy and fizz, Seale proved she is also more than capable of wrenching emotion out of the music in numbers like ‘Mood Indigo’ and ‘Sophisticated Lady’ and her emotive, powerful ‘Heaven’ from Ellington’s Sacred Music was enough to bring tears to the eyes.
There was a sense of fun tempered by a deep respect for the music of the man she was creating the performance around and Seale has simply a great voice.
Seale was backed by a solid supportive band of Mike Gorman on piano, who was outstanding, Clark Tracey on drums, and Rob Rickenberg on double bass. The band had to be ready when Seale sometime upped the tempo at times – seemingly for the sheer delight of it. All three musicians had solo sections on various numbers and proved themselves outstanding musicians.
At the end of the evening, it felt like the audience had been given a treat – Ellington’s compositions, a singer who could perform the numbers, engage the audience, and knew how to work a room, and intuitive and supportive band.
Overall, a delightful and engaging evening, and if you get the chance to catch the show I heartily recommend it.
Listen to Seale’s ‘Suspended’ on Spotify here.
Sammy Stein
February 2023
Photo by Ross Powell
