Marcus Simeone
Haunted
Metropolitan Room: New York, NY
Captivated by the word “haunted,” he explained that all his songs would relate in some fashion to the word’s definition. Although not my favorite premise for choosing a song list, in Simeone’s hands, and with his vocal prowess, it made for a powerful set indeed. The highlights were too numerous to mention them all.
With Tracy Stark at the piano, the ever-versatile Steve Doyle on electric bass and Sean Harkness on acoustic guitar, he opened with Floyd Tillman’s “I Love You So much It Hurts,” sung a cappella in his soulful, husky, sweet and seemingly effortless signature sound, and he coupled it with Hank Williams’s “I’m So Lonesome I Could Cry” backed by the band with a fine, bluesy solo by Sean Harkness.
His incredible note-sustaining ability was evident on phrases from Mercer and Arlen’s “Come Rain or Come Shine,” Stephen Schwartz and Alan Menken’s “Cold Enough to Snow," (from the film Life with Mikey) and Heather Sullivan’s “Somewhere There Lies the Moon.” He allowed his fun side to emerge, in the midst of the heavier laments, with an arrangement of “All of Me” by Harkness, who accompanied Marcus on ukulele.
Given that most people in the room were aware that this has been a particularly difficult year for Simeone personally, several songs took on even greater emotional resonance. In John Bucchino’s “If I Ever Say I’m Over You,” Rupert Holmes’s “My Father’s Song ” and Leonard Bernstein and Stephen Sondheim’s “I Have a Love,” he revealed just how painfully vulnerable he’s been in certain close relationships and, by contrast, in Sade’s “Soldier of Love” and “No One Like You” (Bateman/Goldsmith/Soltau/Peterson/Zippel), he showed just how very resilient he is as well.
The encore “Haunted” (Simeone and Tracy Stark) perfectly punctuated the theme of the evening and, by so doing, exposed two, perhaps haunted—but very high-spirited— hearts.
Lynn DiMenna
Cabaret Scenes
October 29, 2010
www.cabaretscenes.org
April 13, 2013
Tanya Holt and Marcus Simeone are so symbiotic onstage in Quiet Storm, it’s as if they’ve been working together for a decade. Both artists approach material from the inside out, expressing emotion with sincerity and phrasing rather than gesture or volume, communicating even the deepest of these without abrasive vocal stress. Both have polished presence. The two voices weigh in and play off one another with finesse. During a duet, Holt sometimes reacts to what Simeone is singing as if sharing an intimate opinion with the audience. Simeone has a habit of affectionately touching his partner or taking her hand. She’s still, he moves as if music’s coursing through him; she looks into our eyes, he channels his own experience. Holt deftly handles minimal patter. They face one another with warmth, neither angling for the spotlight.
The duo’s latest show at the Metropolitan Room is an appreciative nod to R&B radio station WBLS. “I’m quiet and he’s the storm,” Holt comments, smiling. It might also be construed as reference to the calm at the center of a storm represented by the tenor of the evening. The poetry of Jimmy Webb’s “Beyond Myself”: “Among my demeanors and dark dreams/I stood with hate and bitterness/My pride is like a furnace/Low and light” is rendered grave and feathery, while a tandem “It’s All Right with Me” (an odd choice for its necessary lyric change) and “Them There Eyes” is jaunty. Songs by Ashford & Simpson and Anita Baker provide the smoothest nostalgia.
A terrific version of Sam Cooke’s “A Change Is Gonna Come,” to seriously thumping piano, is a staccato to satin, sell-it-brother spiritual.
Holt offers a subdued and wrenching “No Plans for the Future” and a simply gorgeous “Black Butterfly,” whose lustrous tone and eloquent phrasing lifts us in hope of open wings. She just keeps getting better. Simeone’s “End of the World” is as delicate as it is strong. His interpretation of “Strange Fruit” unleashes controlled and gripping cadence; lyrics implore with open arms. Upper octaves create visceral frisson.
Arrangements by Musical Director/pianist Tracy Stark offer easy, textural harmony marrying pop to R&B. Lina Koutrakos’s direction is perceptive in its use of each performer’s assets and visually appealing. With Marco Brehm on bass and Donna Kelly on drums.
By Alix Cohen
© Cabaret Scenes / April 13, 2013
November 13, 2013
One Isn't Like the Other, and That May be the Point
Tanya Holt and Marcus Simeone at the Metropolitan Room
Congenial vocal chemistry is where you find it, and sometimes unlikely couples like Tanya Holt, a sultry pop-soul singer, and Marcus Simeone, a hyper-emotional tenor, who performed together at the Metropolitan Room on Saturday evening, have it. The title of their show, "Quiet Storm," refers to the simmering romantic radio format first popularized in the mid-1970s. Adapted for cabaret, it embraces everything from Motown to "West Side Story" to Anita Baker.
Read more: One Isn't Like the Other, and That May be the Point