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I've wondered why some of the celebrity songstresses have chosen to use one name. There's Cher, Ashanti, Beyonce, Charo, Madonna, to name a few. I have to assume because it's memorable and so it is understandable why Devlin has chosen this route. She is a memorable singer adept at jazz and the blues and not afraid to show her rich, emotional soul.
Hailing from the west coast, Devlin has not only honed her vocal skills but is also a quality actress. Carmichael/Mercer's “How Little We Know” was sincere in its suppleness and set the stage for the many arenas in life where love may be hiding. Perhaps it's on a “Louisiana Sunday Afternoon” (Golde/Ivers). Precise phrasing added to the bluesy up tempo swing, made this rendition a fun-filled highlight. Devlin has a good sense of humor and just enough quirk to do justice to k.d. lang/B.Mink/I.Berlin's “Miss Chatelaine"/"Cheek to Cheek.”
Director Lina Koutrakos can pride herself not only in her direction but in writing a ballad “Kiss Me” which is poignantly presented by Devlin. “When Love Comes to Town” our chanteuse is ready to jump that train in this down and dirty blues number. She is plaintive, sad and burdened with memories in “Why” (A.Lennox), sorry for the things she's done. “Big Long Slidin'Thing” (L.Kirkland/M.Thomas), arranged by Tex Arnold, is a double entendre of levity. Devlin is a saloon singer with so much more!
Aside from microphone adjustments that needed to be made and less use of the fourth wall, Devlin is an engaging vocalist with a fine cache of skills. Perhaps a positive addition to her next show would be more insight into her, personally. We can already assume quite a lot from her choice of songs, but are we correct?
All music was arranged (except as noted) by cabaret favorite Rick Jensen on piano and vocals. Dan Martin was on bass. |
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“Obnoxiously in love and not knowing who I am,” is the description given by jazz/blues stylist Devlin in her recent series of shows, “The Places You Find Love” at Don't Tell Mama for the state of mind that others may call romantic permanence. And, by the end of her compelling set, this California based actress/singer had run the gamut of love's spoils and performed more than a handful of songs that illustrated the dichotomies wrought in achieving that state while navigating the see-saw stages of romance. That particular set up preceded the odd pairing of k.d. Lang's “Miss Chatelaine” with Irving Berlin's whimsical “Cheek To Cheek” that was a highlight in this show fueled by some well chosen musical missiles.
Both added a lighter touch in a ballad laden set that introduced a singer who, much like Cassandra Wilson and Nancy Wilson, shows passion while not bound by categories and feels free to go any musical place that suits her. In the world of cabaret, too often, singers pigeon hole themselves whilst trying to achieve an alternate identity that critics will accept. Devlin proved she can stretch herself from cool jazz to honkey tonk brassiness when she likes. And, on the right song, she becomes her own person holding the room in the palm of her hand. This was particularly evident on the likes of several high spots like readings of “Crazy He Calls Me” (Sigman-Russell) and “Louisiana Sunday Afternoon” (Golde-Ivers.) Here, with a New Orleans jazz-invoked influence, she was at home emoting a penchant for soul searching that she might expand on in future shows. She also conveyed empathy over contempt on “You Don't Know What Love Is.” (Depaul-Raye.) Such warmth and vulnerability became her greatest strength throughout the hour.
Occasional bland patter lent itself to triteness where less or none would have sufficed. Still rather new to Manhattan audiences, in lieu of attempts at being clever, she might have shared more of who she is. She seems vibrant and full of fun but not much of that was in her act. Vocally, her smoky alto has perfect intonation that speaks volumes when she interprets a melody. And, she has the ability to go beyond that and personalize lyrics with a natural delivery that is painfully honest. Consequently, this should not be clouded by over-rehearsed chit chat when setting up a serious song that already speaks for itself and has a point of view. While “Kiss Me” by Koutrakos was beautifully delivered, distracting facial expressions diminished what might have been an even stronger moment. Annie Lennox's risky, angst-ridden signature anthem, “Why” was less effective as it suffered from the opposite. More dynamics were called for on this frenetic, yearning torch song that crescendos before the final lyric. Once she moves beyond those few coy, eager to please mannerisms, and as her self confidence grows, she will complete what is the start of a calm center sparked by a mischievous sexiness. Then, she will fully realize how very effective she really is and she will become the contender she has the ingredients to be.
Resurrecting Laura Nyro's lively “Time And Love” made for the perfect closer. Minor quibbles asunder, Devlin really is a new force on the crossover cabaret/jazz scene and well on the way to making waves.
Rick Jensen's stylish arrangements were engaging, well structured and captured the perfect musical essence albeit blues, jazz or simple background complemented by Dan Martin's bass. The simplicity of a warmly sung “Ask Me Again” (Gershwin) made for a tasty encore by a lady with a velvety voice who deserves to be taken seriously. In an industry cluttered with mediocrity, Devlin's a keeper.
This engagement celebrated the release of her first album, “Devlin Live in New York.” The self produced CD has many ingredients found on some memorable albums from another era when substance prevailed over style.
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Last Friday along with a packed house of devoted fans, I heard Devlin sing at Schroeder's Club and Cabaret. Boy, can this girl belt out a song, she is awesome! So thrilling to see that Schroeder's is becoming the cabaret spot, with a great lineup of stars throughout the summer. June 11 is their first anniversary and Todd Schroeder himself will headline, he is a fabulous performer. I took a friend from Australia to hear Devlin and Don was impressed with the club. |
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Pat Launer KPBS:
I lost somebody last year, Devlin confessed during her recent, knockout performance at Schroeders Cabaret. Myself. Indeed. The formerly plus-sized actor/singer lost 169 pounds, and she looks like a totally different, and wholly beautiful person. She always had a sexy mien, but now she backs it up with a sexy bod. She said some people accuse her of taking the easy way out by having the surgery, but it was no picnic and there are certain foods (meat, carbonated beverages, etc.) that she can never eat again. The sellout crowd was loving how she looked and how she sounded. In three different outfits (none of them apparently completely comfortable or easy to manage on a stool), she sang her heart out, and blew everyone away. Shes great with narrative numbers, being, as she avers, an actor first. She's terrific with torch songs. And her humor knocks the funny ones outta the park. She was a hit in New York when she performed at the legendary Birdland, and she's due back in NYC soon. It was a treat to see her. Her mentor, DJ Sullivan, had a front-table seat, and many of DJs other students were there, too, including the adorable Daren Scott, with whom Devlin starred in Sullivan's brave and wonderfully provocative production of Frankie and Johnny in the Clair de Lune. I hope Devlin will still do some acting; she's too good to lose. And her new look has opened her up to many more roles. |
