Sue Matsuki…Reviews Please scroll down to read or print out any of these individual reviews for each show or go to my REVIEWS page.

HOW'S THAT FOR OPENERS?

“Thirty-three years to the day. That's what September 16, 2019, was - thirty-three years since Sue Matsuki stepped onto the stage at Don't Tell Mama to audition for Sidney Myer. Nervous, scared, excited, Ms. Matsuki gave it the old college try; and though it wasn't her best audition, Sidney saw something in her and decided to give her a shot, something Sidney has been known to do over the years, and Sue Matsuki had a place to sing. Three plus decades later, the elegant Ms. Matsuki stepped, once more, onto the stage that she has occupied many times, and opened her mouth to sing to a room she has called home.

The cabaret community being such a supportive one all gathered in one place to support an artist whose work they respect and whose friendship they cherish, and when the lights came up on Sue Matsuki, elegantly attired in flowing black chiffon with beaded accents, sparkling silver jewelry at the throat and ears, the ovation was tumultuous. This Anniversary Party would be one to remember.

"How's That For Openers" features the MAC award-winning Sue Matsuki 16 songs that, over the years, have been her opening numbers for her various shows. The setlist is a magnificent one and Matsuki had ample opportunities to display why she has had such longevity in the business. Sharing the stage with one of the greatest three-piece combos likely to be seen on a nightclub stage, Sue was in her element. Her longtime musical director, Gregory Toroian, at the piano and at her side, Sue Matsuki could rest assured she was in good hands, and often made one of the classiest moves a singer can make: at some point in almost every song, she stepped aside to allow Toroian, bass play David Finck, and Ron Tierno (a master percussionist) opportunities to shine, clearly a wise choice because when a singer has this kind of talent on stage with them, showcasing their talents only enhances the evening. The musicianship on display was unparalleled and the euphoric, peaceful expression on Matsuki's face was proof positive that this is one of the places where happiness lives for her.

For Ms. Matsuki's part, her contribution to the festivities was front and center, right where it, like she, belongs. An incredibly likable, almost unbearably charming woman, Sue knows not how to hide who she is, and though dressed in chiffon and diamonds, she was down to earth in her Doc Martens (oh yes, I was close enough to see her footwear peeking out from under her skirt - and everyone who wears a floor-length skirt should follow Sue's lead) and in her dialogue, sharing all the parts of herself with an audience who could not get enough. Jockeying back and forth between upbeat numbers like "This Could Be The Start of Something Big" to lulling melodies like "Quiet Nights of Quiet Stars", Matsuki demonstrated a range of vocal styles, proving that she can do the ballads and the belts, the swing and the sweet. Several times during the evening her roots were showing, and these are roots that need no touching up - her renditions of "A Small Day Tomorrow" and "Shaking the Away" were simply breathtaking. And in between the insanely well-arranged musical, numbers, Sue shared stories about her life, mostly about her life with her husband and their travel adventures, but also about her family's connections to Harley Davidson motorcycles, and about a bruise she has somewhere on her body, but she isn't telling where (no spoilers, kids, you have to see the show to know).

An evening of singing opening numbers culled together from three decades of shows is an interesting idea on paper; but when the finished production is on its feet, there is a potential lack of a musical arc. If you turned on the record No Secrets and listened to it from first song to last song, you would hear the story Ms. Simon created for you. The same can be said of 's Tapestry, 's My Name Is Barbra and many other . If you listen to the compilation records of those artists' greatest hits, you don't have a story, you have a box of candy - it is sweet but it is incohesive. There is a reason for the structure of a cabaret show. There's a reason your first song is your first song, there is a reason you pick a particular number to be your third number - the reasons are the musical story on which you wish to take your audience. That story did not really exist in the show "How's That For Openers?" That did not matter. This was a different story.

This was the story of a long artistic life, well-lived, oft observed, and worthy of note. It is the story of the stamina, the fortitude, the tenacity of the artist. It is the story of artistic survival in a world where flowers wilt from lack of nourishment. The musical arc usually (hopefully) present in a cabaret show was not a required element last night. It is greatly beneficial that Sue Matsuki is the artist that she is and that Lina Koutrakos saw and recognized that. It is lucky for her audience that Sue Matsuki is a pro, because she provided enough story inside of each tune, a new story with each melody, and then she tied them all together with the stories of her life, thus bringing her audience to her, to know her, to know her artistry, to know her heart. And at the end of the day, that is what a cabaret singer wants to give to their audience: their heart.” – Stephen Mosher, Broadway World

HOW'S THAT FOR OPENERS?

“Certainly, no night at New York’s enduring cabaret hotspot Don’t Tell Mama could ever be be described as “ordinary”. That said, multiple award-winning performer/producer/writer Sue Matsuki can look back at September 16, 1986 and recall that evening as, well… extraordinary. Echoing ’s lyrics from one of Matsuki’s favorite songs, one could have prophetically sang, “This could be the start of something grand!” For Matsuki, that Tuesday night was the beginning of a long-term relationship with Don’t Tell Mama– which would continue for 33 grand years.

On Monday, September 16, 2019, the singer honored that anniversary with a very exclusive two-show celebration, named How’s That For Openers? True to its name, the set list was a collection of Matsuki’s opening numbers of her many musical productions through the years. On this memorable evening, The 7PM show was completely sold out, and the 9:30PM show enjoyed a very robust crowd. Once again on the subject of long-term relationships, Matsuki’s supreme team included her Musical Director and pianist Gregory Toroian, who she has been with for 25 years. Rounding out the team that night were David Finck on bass and Ron Tierno on percussion. How’s That For Openers? was directed by Lina Koutrakos, a powerhouse of a singer in her own right. While the song choices in this delightful production were eclectic in terms of genre,style,and generation, every one of the 16 numbers seemed tailor-made for Ms. Matsuki’s unique persona.

So, about that unique persona… First, there’s the voice. Matsuki can boast about having been in the entertainment field for over three decades (with the many funny showbiz anecdotes to prove it), but her voice remains astonishingly unblemished. During How’s That For Openers?, Matsuki may have often spoke about traveling the world with her husband– but this performer can never be accused of sounding like a world-weary diva. Whether warbling with an idealistic, girlish innocence, showing her soulful side with Small Day Tomorrow, or giving it to the audience in a strong and unrestrained style, her delivery is always smooth and flawless.

Second, there’s her sheer joy in performing, which always comes through– particularly in such classics as Mercer and Arlen’s Accentuate the Positive and ’s Shakin’ the Blues Away. (I dare even the most hardened New Yawker to hear that one and NOT have their spirits immediately lifted!) As her admirers already know, Sue Matsuki has a sense of humor, starting with her name (“‘Sue Matsuki’: It sounds like a sneeze. I wear it proudly!”) and continuing with her fondness for such hilarious musical gems as The Breakfast Blues. Thirdly, one of Matsuki’s additional talents has always been her expert choice of songs, combined with her affinity for creating perfect medleys of different tunes. An example of this came in her jazz potion of Too Darn Hot with notes of Heatwave and Summer In the City thrown in. The medley may have been about high temperatures, but Matsuki’s delivery was as cool as a shot of chilled Limoncello. She followed that with a feverishly romantic rendition of Quiet Nights of Quiet Stars. A particularly boisterous side of the singer came out with My Country Man, originally made famous by Big Maybelle. Matsuki took some delicious liberty with the lyrics: “The man I love is Japanese, And he’s big and he’s tall and strong as a hickory tree, And he likes to do… karate!” In between the music, Matsuki also shared stories about her career as a performer and her own personal life, including her adventures in New Orleans (leading into a hauntingly seductive The Prince of Love with a bit of Iko Iko thrown in). But perhaps no moment was more personal than her version of Rupert Holmes’ Special Thanks with her own lyrics written to honor the staff at Don’t Tell Mama, which she called “my family”. And of course, there was an encore.

I won’t give that away, but I will say that Ms. M. gave some artistic liberty to one verse, which couldn’t be more perfect for the spirit of the night: “When I’m singing, I feel the seasons change from winter to spring…!” With the first signs of the impending cool temperatures in the New York air, The audience indeed felt a similar transformation after a night with Sue Matsuki…” - Jeb Ryan, Lavender After Dark

SUE MATSUKI AT THE BEECHMAN

“I have seen Sue Matsuki perform many times over the past eleven years. As I've said before, and will doubtless have occasion to say again, one of the most gratifying aspects—no, make that greatest pleasures—of covering cabaret over an extended period of time is seeing artists develop and grow, so it is with great pleasure that I can report that Matsuki's new show not only represents her best work to date, it is also one of the finest shows I've seen anyone deliver this year.

Ms. Matsuki and Gregory Toroian have put together a very intelligent, tight show, with no blah-blah-blah patter and a nice mixture of classics and new discoveries. The most striking element of the evening is the remarkable quality of her interpretations0each based on a chosen point of view and delivered with commitment and a singularity of purpose, devoid of extraneous frills or gestures. Such clarity and consistency are possible only when the musical share and support the singer's artistic vision, so kudos to Toroian, who devised the arrangements in collaboration with Matsuki. This is his personal best, too—at least of the work I've seen—and his piano accompaniment is positively poetic. (Steve Millhouse on bass and Ron Tierno on percussion.)

Matsuki opens the show with Mercer and Arlen's "Ac-cent-tchu-ate the Positive," which is exactly what she does—from early in the verse when she delivers the line "The topic will be sin" with a twinkle and a smile, to her nifty handling of the song's ending. Among the other standards are Cahn & Van Heusen's "The Tender Trap," with a sassy vocal and sexy instrumental accompaniment, and "I Just Found Out About Love" (Jimmy McHugh, Harold Adamson), presented as an unashamed celebration of sex. Has "Misty" (Errol Garner, Johnny Burke) ever had a more thoughtful or more moving reading? I doubt it.

In the new discoveries category are two wonderful songs by Zoë Lewis: the appealing "The Prince of Love," about a voodoo man in New Orleans, and the steamy, impressionistic, quasi-surrealistic and altogether extraordinary "Aware," here given an equally extraordinary performance. Also new, or at least rare: "A Moment in Time" (music by Matsuki and Toroian, lyric by Dan and Michele Page), a remembrance rich with romantic imagery; "Jackie" (Stefano Carrara), a bossa nova about a blues singer whose own experience with love is what blues songs are all about; and the very triste "Inside a Silent Tear" (, Mahriah Blackwolf)—all strong songs, and all given authoritative interpretations.

There are times when I absolutely love what I do. This is one of them.” – Roy Sander, Backstage ****

“If I would register one complaint, it was that the show was too short – not by my watch, but by my heart. Sue’s delivery and presence is that compelling!” - Stu Hamstra, CabaretHotlineOnline

**** “I'm just a new fan writing to say what a WOW Sue Matsuki's show was Saturday night at the Beechman. Sue is in full, calm control of a beautiful, unexpected set of "unusual" tunes and standards. I¹m going to try and put it in a few words: feminine, incredibly tasteful and tasty in every way, extremely entertaining, outstanding singing, and a strong trio that truly supported her beautifully. Her "theme" was simply stated early on; then she let the music, lyrics and subtle acting deliver the goods. And what music....! I never saw Sue before except at an open mic on occasion. I'll be seeing her again!”

What a show in so many ways! I can’t tell you how absolutely floored I was. I’m going to try and put it in words: Feminine, sure, unusual, mature, incredibly tasteful and tasty in every way, extremely entertaining, outstanding singing, a band that understands what accompaniment means (I only count yours and ’s in that category among bands I’ve seen in the last two years – I’m not kidding). A group of songs that stayed true to the charmingly, sparingly stated “theme” - though you wouldn’t care if they didn’t!

I talked to a friend this morning about your show, and I said it was like watching a dance performance — you know what the titles of the dances are, but no one is “talking” about them, so you see the theme unfold through the movement---well done!” - Betsyann Faiella, Savoy Communications

ELLA & ME - A TRIBUTE TO

"Talk about heaven on earth! What a night! I urge you - no I beg you to catch this show. This is cabaret at its finest" – Stu Hamstra, CabaretHotlineOnLine

****

"As you know Sue is one of my all time favorite singers and she has reclaimed many forgotten songs for me -- Sue appeared with the beginning riff of "Perdido" and proceeded to wipe out a sold out club with an truly extraordinary tribute to Ella Fitzgerald. It was a show of many highlights --- her "Lullaby of Birdland" (which I first saw Ella do at a Jazz at the Philharmonic concert in San Jose when I was at Stanford) was on the nose; she did a funny special lyric to "I Won't Dance" called "I Won't Scat" during which the band teasted her and taunted her into scatting (you have to hear it to believe it, it is one the most incredible special lyric standards I've heard in ages). Then she proceeded to show the range of Ella in several selections, the best of Ella ranging from the Berlin "Mack The Knife" with the special ad lib lyrics; an incredibly heartbreaking "Can't We Be Friends" (restoring another Mildred Baily original); a simple "Here's That Rainy Day" after narrating a particularly dark incident in Ella's life in 1956; some real humorous forgotten pieces from Ella's repertoire "Too Young For the Blues", "You're an Old Smoothie", and two of the Louis Armstrong duets. Don't miss this show when she does it again in the future! It's my nominee for all the cabaret awards for female singer.” – Joe Regan, Cabaret Scenes

****

“I would like to echo Joe's sentiments...Ella has to be be smiling down on Sue Matsuki today! Her show last night was SENSATIONAL!!! Kudos to you, Sue, & to your SENSATIONAL band led by Gregory Torian. I hope you bring it back. I see another MAC AWARD in your future! Lennie deserves a special MAC Award for the high level of quality shows booked at Mama Rose's. Thanks to ALL involved for creating BLUE SKIES last night at Mama Rose's! Here she is, boys...Here she is world! Here's the place to be!” - Richard Skipper, Multi-award-winning performer & Celebrity Blogger

JAM N’ TOASTS

“In the weekly Stepping Out A&E calendar, the Cabaret Soiree series at The Manor is listed under "Variety" and, they don’t get much more varied than Sue Matsuki, who headlined at Le Dome on April 22 to a lucky crowd.

What makes Matsuki so varied? Well, when was the last time a cabaret entertainer mixed the likes of Irving Berlin and ? When was the last time a jazz singer delivered one-liners worthy of a stand-up club? And when was the last time a performer captured your heart, not with carefully planned "tear-jerking" patter but with simple sincerity that informed every sung note and spoken word?

Well, that’s Sue Matsuki, the MAC Award-winning cabaret/jazz vocalist who graced the Cabaret Soiree series last week with a combination of pure talent and natural ease and rapport.

She kicked things off with Irving Berlin’s "Blue Skies" displaying a rich and full lover register counter pointed by the lightness of her head voice. Her improvisational skills were evident on the bridge, where she had some fun with catch beats. Delivering a "blue" period that would make a Picasso drool, Matsuki shifted styles and eras with "Too Young For The Blues," "Almost Blue," "Bluesette," and "Shakin’ The Blues Away" which was given a great gospel/revival feel, with Matsuki and Toroian having fun with jazzy touches and dropped beats. The stair-stepping notes were handled with a delicate precision, and the last note of the number was simply great.

The eclectic nature of her act perfectly suited her versatility and dynamic talent, providing an element of the unexpected with each number. Also, unique were Matsuki’s comic abilities. But, for as well-executed as her comedy was, it was her vibrant voice and impeccable musicianship that defined the evening.

The name of her act may have implied there’d be less toasts, but there was one toast she failed to mention: herself. If only for one night, and if only for a few lucky people who were at The Manor, Sue Matsuki was the toast of West Orange!” - Bill VanSant, Associated Editor, Essex Journal, NJ

JAM N’ TOASTS

“Standing center stage and elegantly dressed in black, she begins her opening song, Irving Berlin’s "Let Me Sing." It’s easy to see right from the first notes why Sue Matsuki was honored with a MAC Award for Female Jazz Vocalist 2001. Her new show with Gregory Toroian, is called "Jam n’ Toasts" and took New Hope by storm when it played the Cabaret Room at Odette’s.

Deftly directed by Carolyn Montgomery, "Jam n’ Toasts" presents a great group of tunes after each one is set up by "here’s to you" style toasts. Toasts to the many men in her life from her stepfather, "The Greatest Many I Never Knew" (by Leigh and Matine Jr.) to her biological father with "Speaking of Happiness" written by Scott and Radcliffe). The evening was a well packaged mix of Berlin, Bricusse and Mancini, Mercer and Whiting, Mercer and Rowles, Elvis Costello, Jay Leonhart and Carly Simon.

Capturing the audience’s emotion with the songs is key and Sue Matsuki did just that is this hour plus show. With infectious spirit, love for the material and knowledge of the lyrics, Matsuki & Montgomery have crafted a terrific show. Most impressive was Gregory Toroian’s flawless arrangements and Sue Matsuki’s understated vocals on "Have You Got Any Castles, Baby?" Her slow, drawn out treatment of Carly Simon’s hit tune "Anticipation" was perfection.

Clear, Clean and concise, Matsuki was never over the top on her vocal arrangements. Even the comedic "The Couple From Duluth" by Leonhart was funny and cleverly delivered. So much so, that most of the audience wondered if the couple from Duluth was in attendance that evening.

Most of Sue Matsuki’s program echoed the theme of her MAC nominated CD, "A New Take." All of her arrangement had a jazz styling to them and were sung with a different slant and arrangements than we are used to hearing. Smooth and sensitive, she was fresh and delivered both patter and song effortlessly. This is a tribute to her seven-year collaboration with Gregory Toroian, who proved to be an extraordinarily talented pianist and arranger.

From her opening song through her encore of "Here’s to Life," Matsuki and Toroian provided an evening of infectious cabaret. I enjoyed the show and wish I could have listened to her inviting voice for another hour. By all means, go and see Sue Matsuki perform.” - Richard Edgecomb & Stephen Hart, CabaretHotlineOnLine, PA Reviewers

IT’S US AGAIN! THE MUSIC OF & EYDIE GORME

“On August 14, you could feel the love in the room as Don't Tell Mama's show room was wall to wall with fans of Steve Lawrence and Eydie Gormé. Edd Clark and Sue Matsuki’s tribute show, "It's Us Again," is a loving look at as a duo and as solo artists, as well as a peripatetic selection of more than 50 years of tasty tunes.

Steve Lawrence was a regular on and when Allen decided to hire a "girl singer," Eydie won the spot. Soon she also won the heart of her duet partner, and they were married in 1957—in , of course! Sue and Edd kicked things off with "This Could Be The Start of Something Big," Steve Allen's theme song, and clearly Steve and Eydie's. I think Sue and Edd may be prophetic. The "orchestra" for this evening was a bit different from what Steve Allen had in the studio, but John DiPinto on piano and accordion, as well as serving as music director, really knows how to swing. Marco Panascia, on bass, has gravitas and can grab your heart to melt it when he bows those strings like a giant bari-cello and Perry Cavari, on drums, gave rhythm, texture and our hearts beat in time. The three work in concert, pun-intended, to make the duo truly a quintet.

The programming begins with early ’40s tunes like Edd's solo on "I Hear a Rhapsody" and Sue's Latin-flavored "The Gentleman is a Dope," from "Allegro". Their vocal blend in "I've Got a Gal in Kalamazoo" and "Bei Mir Bist du Shon" makes you wonder how warm, sassy appreciation between men and women ever went out of style. Perhaps, though, when people see the magic, Sue and Edd will have started a movement. You'll tap your feet and your fingers and sing along under your breath, wondering in some cases "when did I learn the words to THIS song?"

There's a "trading fours" type of duo Sue and Edd have created, giving us historical background on each of the songs that they sing, in an arc that begins with the delicious harmonies of "Sentimental Journey" and take us from "Blame it on the Bassa Nova" and "," which Steve originated in 1962, to "But Beautiful," which was Steve's song. Sue sings it in tribute to her friend and mentor Julie Wilson, who was in the audience for the August 14 show. It's Ms. Wilson's signature song. Sue's rendition of "Gypsy in My Soul" also included her wailing on the faux horns—impressive—and when Edd duets with himself on "Ain't No Sunshine" and "You Are My Sunshine," the full brilliance of the show will remain with you for days to come. The highlights of the evening for me included Sue's rendition of "If He Walked Into My Life" from "Mame," where I had to find a hankie, and Edd's "I Gotta Be Me," from "Golden Rainbow," a movie that starred both Steve and Eydie. The audience is part of the action and at an intimate club like Don't Tell Mama, every seat in the house is front-row.

A grand evening of live music, catching fire from a brilliant performance that puts past and present singers together, is what "It's Us Again!" is all about. Reserve now for the August 21 show as that room fills up quickly! Reserve online at DontTellMamaNYC.com and tell them QonStage sent you!” – Sherri Rase, QOnStage.com

****

“I'm in a holiday mood after seeing “It's Us Again” starring Sue Matsuki and Edd Clark at the cozy venue of Don't Tell Mama on a warm Sunday afternoon. From the moment Sue appeared wearing a bright red gown with no-slacker Edd in a dark suit with a rhinestone pin, I felt relaxed knowing I was about to enjoy some wonderful professional showmanship.

Their show, “It's Us Again!, is a tribute to Steve Lawrence and Eydie Gorme. Just as Steve and Eydie were often looked at as one, they also had separate musical identities.. The duo of Sue and Edd blended well musically, exemplifying the melodious, familiar sounds of the original duo.

They began with a spirited rendition of, “This Could Be the Start of Something Big!” by Steve Allen, an upbeat opener to a fast-moving show. Their next duet, “I've Heard That Song Before,” by Sammy Cahn/Jules Styne, was interspersed with patter between the two, reminiscent of the kind of humor exchanged between Steve and Eydie. I would have enjoyed hearing more between the two of them.

Edd's rich tenor did full justice to a 1940's hit, “I Hear a Rhapsody,” by George Fragos/Jack Baker/Dick Gasparre, He sang this piece without embellishment, letting the melody speak for itself. Versatile Sue sang an upbeat comedic number, “The Gentleman Is a Dope,” in her trademark mellow voice, while her musicians supported her with a catchy, rhythmic rendition”--Musical Director , on piano, John DiPinto—on bass, Marco Panascia—on drums, Perry Cavari—great accompaniment.

Then Sue and Edd broke into a spirited version of an old favorite, “I've Got a Gal in Kalamazoo,” by Mack Gordon/Harry Warren from the 1942 film, “Orchestra Wives,” that had the audience rocking in their seats. Edd and Sue seemed relaxed and at ease with the audience while telling interesting stories about Steve and Eydie, adding to the enjoyment of their audience. Edd then sang a moving arrangement of ”A Room Without Windows” by Ervin Drake, in which he displayed his versatility. Sue lent a wonderful treatment to “Wee Small Hours of the Morning.” She sang it beautifully at a slow pace, with stylish sensitivity to the lyrics. A wonderful bass solo by Marco Panascia added to the effectiveness of the piece.

Sue & Edd then went on a “Sentimental Journey” through many of Steve & Eydie's enjoyable hits, “Blame It on the Bossa Nova,” “Go Away Little Girl,” “But Beautiful,” “Bewitched,” and many others.

Sue and Edd then diverged stylistically from their other renditions. Sue's “Gypsy in My Soul” had a syncopated beat with many variations, while Edd created a new persona with his rhythmic version of “Ain't No Sunshine When She's Gone” by Bill Withers/Grover Washington.

There were great band solos and good harmonic arrangements by the band in the classic, “Bei Mir Bist du Shon” by Jacob Jacobs/Sholom Secunda.

One of the many highlights was Sue's soulful, “If He Walked into My Life” by She sang the piece emotionally, with dramatic impact The audience was quite moved. The lighting, by Jason Ellis, added to the effectiveness of the piece.

“Through the Years,”by Steve Dorff/Marty Panzer, sung by Sue and Edd, was a poignant, touching piece, adding a soulful touch to a wonderful show. They closed with the charming “Side by Side” by Gus Kahn/Harry M. Woods, adding a little choreography, which I felt could be enlarged upon, for a fun ending to a very entertaining program.

Sue and Edd kept true to their counterparts, establishing separate voices and then blending them in their duets. The show lasted a long time, but it seemed like a minute—bringing back many wonderful memories. Aah the good old days!

For those who missed this show, you can once again enjoy the talented duo of Sue Matsuki and Edd Clark in their “Annual Christmas Show” at “Don't Tell Mama” on December 2d and 14th at 7 PM. Forget your worries, c'mon get happy!” – The Time Square Chronicles

SUE & EDD’s FABULOUS CHRISTMAS

“Sue Matsuki and Edd Clark’s FABULOUS Christmas Show was hosted by Don’t Tell Mama, one of Manhattan’s premiere cabaret venues, for only two evenings this year, Sunday, December 11 and Wednesday, December 14, and the latter is the show being reviewed. It’s no secret that, as you’ve followed my peregrinations through this tangled web of holiday lights, this season I have been enjoying a groaning table full of Holiday treats. This show was a full course meal in itself from the very beginning.

Kicking off the evening, after Musical Director Paul Stephan and upright bass player Tom Hubbard—is there such thing as a “reclining bass?”?—took the stage, our dynamic pair did their version of the Steve and Eydie classic “That Holiday Feeling.” If you know Steve and Eydie, or perhaps you Googled famous show-biz couple Steve Lawrence and Eydie Gormé, well, either way, Sue Matsuki and Edd Clark make this song their own. Sue is an award-winning cabaret singer and song writer and Edd Clark is co-founder of ’s New Opera Group and a classically trained tenor who has appeared in operas and musicals, and has toured nationally and internationally with Mimi Hines in “Hello, Dolly!” Together they are unstoppable, both with split second comic timing and senses of humor that are matched only by Hubbard’s skill on bass and Stephan’s as the primary–the “lone”—arranger!

Next was Stephan’s arrangement of the classic Ukrainian “Carol of the Bells,” syncopated and sounding like “Mad Men” released a Christmas . Vocally, the syncopations had the vocalists playing an expert game of tag and should be released on its own recognizance–it’s brilliant. Next Sue took on Flaherty and Ahrens’ “All Those Christmas Clichés” followed by Edd’s rendition of “Christmas to Remember” by Boutros, Weisman and Black. This pairing was the first indication that the programming was going to be something different, and though you know that these two performers have sung these songs many, many times, there’s a freshness to the interpretation that feels like the very first time.

Then, we heard something REALLY different–Sue and Tom Hubbard’s sassy “Sleigh Ride.” Hubbard’s bass line gambols and flows like dark honey around Sue’s syncopated “Sleigh Ride.” When I’m thinking with my G-rated mind, ’s arrangement rocks the house, but when I’m thinking with my more adult and sophisticated self, Sue and Tom’s version is what I’d put on the stereo while convincing someone to tarry a bit longer. GROWWWWRRRR!

Closely on the heels of this hep-cat carol is a holiday favorite–“Suzy Snowflake.” Truly making this his own from the very beginning, Edd, in his minor key variation, signals that something wicked this way comes … Stephan strikes again! If you think Suzy’s an ordinary snowflake, she’s a maelstrom inside–the perspicacious recognized Stephan’s feast of Stephen, as in Sondheim, as in it’s a Sweeney Todd Christmas! Pure theatre-lovers delight, especially when Sue becomes a Mrs. Lovett-cum-comic foil–attend the tale of Edd and Sue! This was my personal favorite of the myriad of melodies.

Alfred Burt wrote Christmas carols with his father as part of their commemoration of the season each year. Burt made these carols into cards from the years 1942 through 1954, completing his last carol only days before his death in 1954. “Burtology” is Stephan’s arrangement of carols that suit Sue and Edd to a tee and brought that sense of what Christmas is really all about to the fore. Continuing that theme, guest Alissa Hunnicutt, who is not only a great singer but a gifted puppeteer, performed a song Sue wrote with Stephan from the point of view of the Angel atop the Christmas tree. Hunnicutt had a beautifully crafted folk-style angel and a small tree that she incorporated into her rendition. When the song was through, having seen what the Angel sees through the years from young children growing up, war, aging, and then a new generation of youngsters, there may not have been a dry eye in the house. The Angel’s movements were no less charming for seeing how they happened–a genuine holiday treat!

Bringing the show back to the present–Christmas presents–was a pair of songs to give one pause. First was Edd’s rendition of “The Gift of Maggie” from the 1966 off-Broadway “The Mad Show,” with songs and sketches based on the wit and wisdom of Mad Magazine. Barer and Rodgers wrote a mid-century Modern version of “12 Days of Christmas” as poor benighted Edd runs down the list of what his hapless cousins have gifted him for the holidays. Updated with modern political references, it was a hilarious reminder that what we grab as a gift may not always be well-received despite its good intentions. Sue countered with a delicious song by Jim Fisk, “Pretty Little Dolly,” that is a favorite on the Dr. Demento show and was originally written in 1963. Among the other “regular” little dolly things, this one can sunburn, then peel! It–ahem–goes on from there!

From the ridiculous to the sublime, there was then a great set of contemporary songs, starting with Nick Levin’s song of new love “Warm as Winter,” segueing through the poignant “Cold Enough to Snow,” from “Life with Mikey,” then finally “Winter Was Warm,” from “Mr. Magoo’s Christmas Carol,” that had Sue and Edd first together, then apart as Sue physically reaches for the withdrawn Edd, relationships rife with missed opportunity. Simply beautiful, followed in the only way it could be–by some traditional Holiday fare.

The final group of songs showcased the range and power of both vocalists with Edd taking the lead with “The Little Road to Bethlehem.” His classical training made the flow and phrasing breathtaking. Sue then took the helm with another Stephan arrangement, this time of “Mary, Did You Know.” The minor key and pathos of this Lowry and Greene song cut through the fun and frolic of the earlier parts of the show with another strong reminder of the purpose, for Christians, of the season. The passion in Sue’s voice and the delicacy and dynamic range in such an intimate space, made the show feel more like an impromptu living room concert. Joining forces for Stephan’s arrangement of Adolphe Adam’s “O Holy Night,” the singers again demonstrated their ability to make each song sound like a new rendition every time, which, combined with their close harmonies, beautiful, flowing, made it clear that their next recording should include this song.

Not content to send us off somberly, they made the final song of the evening the Johnny Marks classic, “Holly Jolly Christmas.” Sue and Edd held the room in the palms of their hands from the beginning, and some audience members were so into the flow that, even before Edd called for all of us to join him, several people had already begun singing with the piano, bass and Edd’s holiday-red ukulele! What a tremendous show, with a year’s worth of emotion packed into less than two hours. This season, remember gifted musicians like Sue and Edd, Paul Stephan and Tom Hubbard. And remember that Santa is everywhere. Merry Christmas! - Sherri Rase, Qonstage.com

****

“Like old friends hanging around the tree, singing favorites at a party…these genial singers would be welcome presences at a party or show celebrating the season! This Christmas variety pack offers different genres of Christmas song to pull you into the holiday spirit. Though they harmonize espousing holiday happiness, when Sue sings John Meyer’s heartbreaking plea for a soon-to-be ex- lover to stay until “After the Holidays” with Edd crooning “I’ll Be Home for Christmas”, sounding far away…it sets up an image of a held-tight memory or wish for what won’t be.

Edd brings real feeling and drama to the story song “The Last Noel”. On the comedy side, we can be grateful for his performance as the ungrateful recipient in a song from The Mad Show by Mary Rodgers and Marshall Barer, “The Gift of Maggie.” It is snide, sneaky and snarky great fun!” Sue is perfection and devilishly funny as a little girl on the nifty novelty number describing “The Pretty Little Dolly”. Sue brings genuine longing and adult perspective to “All Those Christmas Clichés” – Rob Lester, Talkin’ Broadway

**** “The holidays are upon us in full force. I am not alone in being enamored by the fantastic vocals of this MAC Nominated duo, Sue Matsuki and Edd Clark. Alone or in duet their voices are clear and beautiful. I have had my copy (of their CD) since the first year, and at this time of the year it is loaded on my iPod Shuffle and serves as a soundtrack to my life in December.

In addition to great vocals, and a song list of both old and new favorites, the show was blessed with a new song, written by Ms. Matsuki and the show's musical director, Paul Stephan, called "No More Sugar for Christmas." Edd's delivery of "The Gift of Maggie" has become classic, and once again Sue dismembered her "Pretty Little Dolly." There were fun songs, serious songs, and lots of funny bits between songs - this duo has enough chemistry to win them a spot in the Gilbert Hall of Science!” – Stu Hamstra, Cabaret Hotline 10 YEARS IN THE MAKING

“Sue Matsuki’s emergence as a cabaret star!

It’s been awhile since we last saw Sue Matsuki perform – not since she was just making her breakthrough to a new level of popularity as well as establishing her foundation of solid professional showmanship. If anything, her popularity has increased during the intervening years – and for good reason: Matsuki is a more polished and assured performer now and her ability to interpret a lyric is more readily apparent.

The show we just saw drew upon the women who have influenced Matsuki. There were some songs associated with the likes of everyone from Doris Day to Ella Fitzgerald. If those influences continue to hold sway in her new show, she should be a force to reckon with. Consider what she did with a song Reba McIntire sings called, “The Greatest Man;” in Matsuki’s hands it becomes a moving tribute to her step-father. In the same way, the Janis Ian song, “Love is Blind: held a personal poignancy for Matsuki that she delivered with a newfound intimacy and delicacy.

It’s her personality and intelligence on stage that really sell her songs. She’s got want most performers would die for, a likeable presence.” - Barbara & Scott Siegel, Talkin’ Broadway

****

"On Friday I went into town a bit later than usual, catching just one show, at 9:30 pm, at HELEN'S RESTAURANT, CABARET & PIANO LOUNGE (169 Eighth Avenue, NYC - 212-206-0609 - http://www.helensnyc.com/ ), where Sue Matsuki was celebrating her birthday as well as presenting the final show of her seven- show retrospective of her 10-year collaboration with her musical director Gregory Toroian. The show was sold out for weeks. It seemed like the entire NYC cabaret community was in attendance. The show got a late start, and continued until nearly 11:15 pm , but every minute was magical! Sue performed 14 songs in this show that were not a part of the repertoire of songs she performed in the first 5 shows. What a glorious evening! What a glorious voice! What a wonderful creative and talented team! I would be hard pressed to choose a show seen in 2005 that was as thrilling and satisfying as this event." – Stu Hamstra, Cabaret HotlineOnLine “One thing about Sue Matsuki’s current series of shows is certain: if there were an award for sheer ambition, Sue Matsuki would be a finalist at the very least. Her show’s title refers to a cavalcade of six completely different shows (actually seven, but one was sold-out even before the series began) at the Hideaway Room at Helen’s.

For Matsuki, it’s a retrospective of ten years of collaboration with her music director, arranger, accompanist, Gregory Toroian, and the shows they have created and played together. The charts were there, and from them, the two have selected a hundred numbers to provide the musical repast, a dozen and half or so for each musical meal.

This reviewer caught A Plate of Sweetness, a Sunday toast to the ladies who have inspired Matsuki. There were songs associated with Billie, Peggy, Sarah and Ella (any questions about who?). As well as Shirley Horn, Shirley Bassey and others. Matsuki is a seasoned performer who makes no attempt to mimic her heroines. She’s got a voice that needs no apologies, a longstanding jazz bent, and a style of her own: thoughtful, reflective and fresh. In fact, she leaned in the other direction, and with Toroian’s arrangements, brought some remarkably different readings to her material. In the spirit of her CD, A New Take, the pair offered up some surprise new takes. Toroian is accomplished at the keyboard, and equally accomplished at going his own way. One way-out effort, Toroian’s and Matsuki’s version of Que Sera, Sera, will have some listeners cheering, and others distracted by the seeming discontinuity between piano and vocalist. Some of the best numbers were Can’t We Be Friends, a blues-y Small Day Tomorrow, and a lovely closer, Here’s to Life.” - Peter Leavy, Cabaret Scenes

A TRIBUTE TO THE GALS WHO MAKE ME WANT TO SING

“To me, Sue Matsuki is an unaffected jazz stylist. She has a relaxed, engaging alto that one could listen to for hours. In person she is very persuasive with a sweet sound that recalls ‘50s band singer Chris Connor or, more recently, Carol Sloane. With brilliant Gary Pace on piano and John Leohrke on bass, she is in good hands.

To her credit, she never tries to emulate the ladies to whom she pays tribute. Rather, she brings her own gentle spin to the vocalists who have defined her musically. There are gems, which she pulls off with a keen sense of respect while bringing her own often-languid style to the music. Highlights like -Dave Barbour’s "I Don’t Know Enough About You" and the Johnny Burke-Jimmy Van Heusen "But Beautiful" are conquered with a wistful nostalgia that recalls an era we’ll never see again. The rarely heard 1956 "The Late, Late Show" (Roy Alfred- Murray Berlin), a signature tune of Dakota Staton, shows a whimsical side that is always beneath the surface.

Ultimately, Sue Matsuki’s sincerity shines and she sings with a commitment to her art that should have her playing the big jazz clubs in town. Pace is perfection on Gregory Toroian’s arrangements.” - John Hoglund, Backstage

****

“Sue Matsuki’s new show "A Tribute To The Gals Who Make Me Want To Sing" (Ella, Sarah, Carmen, Peggy, Rosemary, Irene & Dakota) with Gary Pace on piano and John Leohrke on bass, with Frank Fontana serving as director, is another in a series of simple but delightful presentations by this MAC Award- winning artist. In this show Sue explains how female vocalist of the past have influence the way she sings and the way she approaches a song. But she makes no attempt to imitate their styles as she performs their songs. Instead, she makes them her own, setting each one with a personal observation, and adapting the song to her marvelous vocals. Lesson to be learned from Sue? Try to make the audience feel that the song was written with you in mind. I see too many shows where performers give the impression that they are merely singing someone else’s songs. Want to learn about what cabaret is, while at the same time being thoroughly entertained? See this show.” – Stu Hamstra, CabaretHotlineOn Line

CRITICAL ACCLAIM for A NEW TAKE

From The Journal of the International Association of Jazz Record Collectors A NEW TAKE - YAK 2000 (Available on Amazon.com)

Sue Matsuki (vcl); Chris Hajian (tpt); Bob Kindred (ts); Gregory Toroian (p, arr); (g); Ned Mann (b); Ronald J. Tierno (d). New York, October/November 2000.

“Speaking of Happiness/ Bluesette/ I’m Gonna Miss You/ You Brought a New Kind of Love/ Quiet Nights of Quiet Stars/ Astrud/ I’ll Close My Eyes/ It’s Nice Weather for Ducks/ I Whistle a Happy Tune/ Whistling Away the Dark/ Moondance/ Runaway/ Love Is Blind/ Have You Got Any Castles, Baby?/ / the Shining Sea/ Shaking the Blues Away/ Anticipation. TT 58:53.

Sue Matsuki is well known in New York, where she’s an award winning regular in clubs, when not performing in musicals and opera. Her groove is jazz— she won the 2002 MAC award for best jazz vocalist, and this disc brings her to a wider audience. Matsuki is her married name— she’s Connecticut born, of Swedish- French descent. Her style is somewhere in the good region of Irene Kral. Her approaches to these new and old songs are dead on, whether blues, ballad, or rhythm is the right choice. And with the fine band and superb arrangements, she can turn on a dime.

The instrumental contributions match Matsuki’s singing. The rhythm section is flawless, enhancing and never interfering. Several passages are lovely duets for Matsuki and bass, guitar, or piano. The Al Cohn-like tenor of Bob Kindred nicely complements the singer on several tracks, and arranger-pianist Greg Toroian matches Matsuki’s versatility and taste, whether in support or solos.

Each track is a gem. In an ideal universe, this album would go platinum.” – Art Hilgart, the Journal of International Association of Jazz Records Collectors.

**** "I’m a big fan of yours…you knocked me out!" - Amanda McBroom, Writer of “The Rose”

**** "Another treat for jazz lovers is Sue Matsuki’s album, A New Take. Matsuki, who won the 2002 MAC Award for Best Female Jazz Artist, has crafted an album with musical director Gregory Toroian that gives a new spin to old jazz standards and a jazzy spin to some contemporary songs. Thus, jazz chestnuts like "The Shadow Of Your Smile" and "Bluesette" are given a fresh coat of paint and songs not usually associated with jazz, such as Carly Simon’s "Anticipation" and Janis Ian’s "Love Is Blind," are given new shadings. Matsuki has a fresh, unaffected voice that envelops the songs like a glove, giving equal attention to melody and lyric (a rarity in the jazz world)." - Jonathan Frank, Talkin’ Broadway

****

"...Matsuki has a clean, clear and unaffected voice that is both lovely and interesting ... she uses it artfully and sings with sincerity ... now's the time for her to spread her wings and take off..." – David Hurst, Show Business

****

"Get your hands on this recording -- one of the best I've listened to all year!" I’ve always been a fan of Ms. Matsuki so it is no surprise to me that her CD A New Take is such a delight. With the solid base of Gregory Toroian’s inventive and insightful arrangements, and the assistance of a great studio band. Her clear, soothing vocals and clever stylings make for an hour or so of pure joy..." - Stu Hamstra, Cabaret HotLineOnLine

****

"...Sue Matsuki meant one thing with the title of her CD A New Take. You can add one more: take it home. Fresh and exciting, this is jazz that neither loses the melodic line nor the meaning of the lyrics. The arrangements have style, the singing has warmth and sincerity, and the ultimate compliment is that the CD wears well on the ear. As soon as you hear the album once through you’ll likely want to hear it again..." - Barbara & Scott Siegel, Siegel Entertainment Syndicate/Backstage

****

"This is my initial response, straight from the heart: I just finished working on a film involving the supernatural. And an element of it had to do with the conjuring of spirits of those who went before (living and dead) in order to create something new and alive. And I thought about that as I was listening to the CD tonight.

“I felt George Shearing and Eddie Jefferson draw close. Out of the corner of my eye in the darkened corner there was Cleo Laine with John Coltrane, but when I looked over they were gone in a purple mist that seemed to hold reflections of Nichele Nichols, , Stan Getz and Diane Schuur. With the scent of Julie in the air around me. But none of that is exactly right. The instrumentation and arrangements were superb, your performance marvelous, the concept incredibly well executed. But those are all individual elements…and what I heard was a single entity, a living thing that swept around me and took me away into a nicer place that I have been in a long time." - Richard Steinberg, NY Time Best Selling Author

****

“If you know Susan Matsuki, you'll recognize your friend from the exuberant cover art right through the last thrilling "take" on this impeccably arranged, engineered and performed disc. If you don't know Susan Matsuki, after you've taken this jazz-driven journey you'll feel like you've had a long, rich conversation and will be looking forward to the next one.

The concept for "A New Take" is simple: fresh, often daring, always inventive new interpretations of standards, rarities, and a number of surprising – and successful! – contemporary songs that have been so artfully re-imagined by Susan and her extraordinary arranger/pianist Gregory Toroian that they feel completely new.

The recording captures performances of such immediacy and intimacy that you expect to hear ice cubes clinking and chairs shifting. I almost applauded sitting in my comfy chair in the dark under the headphones. Susan sings with a calm confidence that allows her to swing from pathos to playtime with equal assurance and focus.

A favorite track? That's hard. But what Susan does with Carly Simon's "Anticipation" will make you forget about catsup commercials forever.

There is real artistry here. If you are a jazz fan and appreciate an artist who takes genuine risks with stunning success, you will enjoy this CD. And yes, Susan is a friend of mine... but oddly enough listening to "A New Take" was the first time I have heard her sing. I know her much better now.” Jeff Matson, Reviewer at Large

****

“I've been watching Susan Matsuki's career develop for years and welcomed the chance to review her new CD. When I received it, I played it straight through, then played it again, then AGAIN. This is a CD that's liable to stay in my CD changer right next to Nancy LaMott. The album is a compilation of steamy sultry jazz takes on standards and pop tunes, remarkably arranged by Gregory Toroian. Matsuki is always a pleasure on-stage, but she truly comes alive in the studio. Unlike many cabaret performers who don't translate well to the recorded medium, Matsuki brings emotional intensity and vocal insouciance to her debut album. She is joined by the stellar musical performances of Gregory Toroian on piano; Ned Mann, bass; Ron Tierno, percussion; Chris Hajian, trumpet; Gene Bertoncini, guitar; and Bob Kindred, sax. This album has all the seductive silky jazz stylings that the Linda Rondstadt/Nelson Riddle albums should have had. Toroian is truly a find, both as an arranger and pianist, and the album is all the more impressive because of its debut status.

Some of my favorite cuts include Rodgers & Hammerstein's perky I Whistle a Happy Tune juxtaposed with Mancini & Mercer's evocative, mysterious Whistling in the Dark, and an extremely fresh take (hence the album title) on Van Morrison's Moondance. Mel Tormé's I'm Gonna Miss You is a lesser-known gem, cycling through a year of lonely holidays (far superior to 's similar I Just Called To Say I Love You which tries to say the same thing without as much sophistication). Jobim & Lees' Quiet Nights of Quiet Stars evolves into a driving, pulsing version of Basia Trzetrzelewska & Danny White's Astrud with amazing band solos by both Toroian and Kindred. Matsuki's take on Carly Simon's Anticipation still makes me forget the ketchup commercial, as I mentioned in a previous review. I think perhaps my favorite cut is an arrangement of Del Shannon & Max Cook's Runaway with Janis Ian's Love is Blind, with great Memphis-style piano from Toroian and ethereal vocals from Matsuki.

On the whole, A New Take is a recording that cabaret artists with dozens of albums under their belt would be proud of. As a debut, the album is remarkable.” - John Patrick Schutz, Reviewer at Large

JUST ONE ANGEL

“Probably the best lyrics of this season are found on the 22 songs presented by about as many singer/ on “Christine Lavin Presents Just One Angel.” - Dr. Christmas presents 17th annual survey of new Christmas CDs By Gerry Grzyb

****

“Here! Here! (or, Hear! Hear!). Give Paul Stephan, composer, kudos for a lovely song! The song, "Christmas Angel," is a wonderful piece that I found touching and very sweet and sung unforgettably by Sue Matsuki. In fact, I'm gonna get me some hot chocolate and put on the song!

If you don't own this new album...it's a gem! I get to a point where I can't take another version of "Baby It's Cold Outside" or even "Silent Night" (altho' I love them both, I'm close to saturation right now!)....but put on this cd or digital download...and...mmmmmm...there's a whole new sound to the holidays!” - Steve Blue, CabaretSingers@Yahoo

****

Christine Lavin Presents: Just One Angel (Yellow Tail Records) “It's a rare disc that can be religious and secular, funny and touching, while also addressing the diversity of the season, and yet this album manages to not only do this, but do it stylishly. Among the highlights are "Won't You Please Stay for Christmas, Santa Claus?," a toe-tappin' country-western tune written and performed by Jeff Daniels; "Christmas Angel," Sue Matsuki's moving view of the holiday that comes from the perspective of the treetop decoration; Roy Zimmerman's laugh-out-loud funny "Christmas on Mars;" and Janis Ian's stirringly simple folk-infused anthem, "Joy." - http://www.theatermania.com/new-york/news/12-2010/the-12-cds-of- christmas_32389.html

“It’s that time of year again already, kids! Thought I’d drop the news that the Holiday season is upon us and we’re all yet another year older. But to soften that news we do have a few new CDs to help lift the blues. One is the full-on debut release by MAC Award-winner Suzanne Carrico, one a mystical karmic adventure and the other a compilation featuring the likes of actor Jeff Daniels, Kate Taylor, legendary singer/ Janis Ian and “” scribe Julie Gold. Entitled Just One Angel, it is produced by the wonderful Christine Lavin (also joining The Accidentals for a the comical “When You’re Single at Christmastime”), and dedicated to dearly missed songwriter/entertainer, John Wallowitch. Tunes here run the gamut from haunting to hilarious, with Sue Matsuki singing the lovely new ballad, “Christmas Angel” (lyric by Ms. Matsuki, music by Paul Stephan).

Kate Taylor delivers a folksy, plaintive version of “Auld Lang Syne,” with arrangement and complimentary vocals by brother James, and Ms. Ian gives us the gift of “Joy.” As is befitting the dedication, David Ippolito supplies the simply breathtaking Wallowitch composition “This Moment,” which I am stealing (well, learning at any rate) this very moment! Order Just One Angel at: www.yellowtailrecords.com.” - Daryl Glenn, NightlifeExchange.com

****

“When I received an advance copy of Christine Lavin's new Holiday CD "Just One Angel" realized that this was a basket of Holiday treats to be savored and sampled all season long. It's composed of 22 tracks of delightful songs, performed by 21 delightful singers (including our own Sue Matsuki - so now you know how I got an advance copy). I had it on my iPod for over a week, and once Thanksgiving gets close I will put it back on to serve as a soundtrack for my own Holiday celebrations.

To single out one special song from this amazing list of choices would be about as impossible as deciding on a favorite in a basket of Holiday goodies! All I will say is that each song is a delicious treat - some are familiar favorites but most are songs new to me, and probably to you as well. Available now at YELLOWTAIL RECORDS and soon at probably a dozen other places where CDs are sold. The album is dedicated to the late John Wallowitch (who's song "This Moment", a cabaret favorite, is included on the CD). A great stocking stuffer that should be unwrapped and consumed before Christmas!” - Stu Hamstra, Cabaret Hotline

****

“At a time when the music world is drowning in holiday albums of excess, along comes Just One Angel (City Hall Records,) a very imaginative gem produced by Christine Lavin that is sure to get a lot of attention. The CD is a widely eclectic mix of holiday pastiche filled with pathos and light-hearted romps covering every conceivable funny and nostalgic spin on the season that is a must-have for anyone tired of the norm and appreciating the common joys and madness of 22 reverent and irreverent contemporary songwriters of today." - John Hoglund, Theaterscene.net

****

“I usually don’t review or write about CDs. However, when “Just One Angel” was sent to me by a friend, I listened and decided to share it with everyone! Folk singer-songwriter Christine Lavin (www.ChristineLavin.com ) has been a presence and force since she was a wee one, honing her guitar skills with the great Dave Van Ronk, who had mentored Bob Dylan, working at the famed Caffe Lena Coffee House in Saratoga Springs, performing as an original member of the “Four Bitchin’ Babes” and most recently released her Mem-Whaa? “Cold Pizza for Breakfast.”

“Just One Angel,” presented by Ms. Lavin, and dedicated to the late John Wallowitch, features this new holiday compilation comprising 22 original songs, filled with some of the best contemporary singer-songwriters and leaves no stones unturned in its efforts at inclusion. In other words, you don’t have to be Catholic to own or gift this remarkable musical assemblage.

Actor Jeff Daniels opens with “Won’t You Please Stay for Christmas, Santa Claus?” in a modern-day style story about life and people asking for “some holiday cheer for me, myself and mine;” The Accidentals’ harmonic “I’m Not Going Home for Christmas” is sad and poignant; humor takes precedent with Erik Frandsen’s “Christmas in ” (accent included) “Santa’s a Teamster so he’s doin’ fine…Bada Bing” while Roy Zimmerman provides insight into “Christmas on Mars” or as they say it on the 4th Rock from the Sun, “Eenie Kaveenie Klibadavac.”

There are several songs about Peace (Erik Balkey, Julie Gold), about war “Daughters and Sons” (Lori Lieberman), an all too-witty and clever “Jewish Kid Born on Christmas Day Talkin’ Blues from Sally Fingerett, a question from sisters Ruby and Ava Locknar “Is It Hanukah or Chanukah?,” several traditional style holiday tunes of good wishes (Sue Matsuki’s “Christmas Angel”) and a lovingly sung “Joy” by Janis Ian.

This is the present that can make everybody happy with its all-encompassing artists and uniquely original material. The CD is available at www.yellowtailrecords.com and various musical online.” - Sandi Durell, NY Theater Examiner

SUE MATSUKI & GREGORY TOROIAN at ST. PETER’S JAZZ

“The winner of the coveted Mabel Mercer Foundation’s Julie Wilson Award and three time MAC Award winner, singer Sue Matsuki’s highly entertaining shows have been performed these past few years in cabaret venues, but she is quite definitely a cross-over Cabaret/Jazz performer with an interesting polyglot style and presence all her own. Sue has chops to compare with the "pure jazz" ladies. She reaches her audience with her warmth and understanding, both musically and lyrically, of the songs she chooses.

Her partnering with Gregory Toroian, pianist, makes for a set that is a grand way to spend an early afternoon in the sanctuary of St. Peter’s Church, one of our town’s pre-eminent jazz rooms.

Her material is eclectic, ranging from chestnuts, the opener being “Acc-cent-tchu- ate the Positive” (Mercer/Arlen), ’s “Easy to Love” and an exquisitely haunting treatment of “In the Wee Small Hours of the Morning” by Bob Hilliard and David Mann. There are several unknown or little-known songs by composers who deserve to be heard including a fun spoof of “Too Young for the Blues” by Charles Meyer and Bill Jones, and ubiquitous but delightful standards like Cahn/Van Heusen’s “The Tender Trap” of fame and Carly Simon’s “Anticipation.” It is really something for everyone, a smartly blended presentation that brings out the artistry of Sue Matsuki.

If you have not already picked up on this popular singer, watch for news of upcoming gigs. You, too, can become a fan!” – Jan Wallman, Nightlife Exchange