GREAT REVIEW OF THE ALBUM BY JOHN HOGLUND! Cabaret Scenes September / October 2014 Who is Jesse Luttrell? What is the fuss about? With the release of this self-titled debut E.P., recalling those of other openly gay performers, the public is about to find out. It’s already a hot seller on CD Baby. The hugely popular Luttrell describes himself as a modern-day vaudevillian. He just happens to have a flair for Fire Island and the gay circuit. But, he also has legitimate theatre credits, including the Emcee in CABARET, Frank N. Furter in THE ROCKY HORROR SHOW, as well as being in JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, CATS, and his popular, ongoing cabaret/concert act called BAWDY!, which has played around since 2009. He is a cult-like hero to his fans and packs them in wherever he performs. With a penchant for belting out show tunes surrounded by fine musicians, led by the embarrassingly great Fred Barton here, Luttrell has released this debut recording. It is noteworthy for many reasons, not the least of which is that it was the last album recorded at Jim Czak’s storied Nola Studios (which recently closed its doors after 75 legendary years.) In a ferociously clear-toned belt, Luttrell opens with a rousing version of Cy Coleman/Michael Stewart’s “Hey There, Good Times” (I LOVE MY WIFE) that fuses the eclectic likes of Shirley Bassey at her peak, Al Jolson and, yes, Judy Garland. That Garland influence seems obvious. Clearly, this is a showman of the first order at a time when such a bawdy, old-fashioned style is not in fashion with kids who idolize vacuous, mindless pop demons who dominate the industry now. For that reason alone, this album might be worthy of a Grammy nod (in some category). And, more seriously, for the talent and professionalism that went into this project with only six cuts on it. (Is it a teaser for more to some?) First of all, the orchestrations by Barton are as flawless as all his previous work for which he is highly regarded, and for utilizing some of the very best studio and pit musicians in the business. The collaborative effort between Luttrell and Barton is of an equal level on this well-produced CD. The musicianship alone on this disc is impeccable. Then, there’s Jesse Luttrell. What can one say? He may not be everyone’s cup of tea (but who is?), yet the gentleman is brimming with abundant talent and deserves to be taken seriously. Very seriously. He belts out this collection of showstoppers with the gusto of an eager chorus boy on the brink of hitting the big time. After that sensational “Hey There, Good Times,” which he milks for all its worth, belting it to the rafters in his lyric baritone, he is in a more subdued, big band delivery on “Make Someone Happy,” which calls for a tad more personal connection with this great lyric. He does prove he can easily sell a trenchant rarity with a beautifully delivered “Where’s That Rainbow?” (Rodgers & Hart, from PEGGY ANN) making for one of the album’s finest cuts. “I’m Gonna Live Till I Die” strikes a strong chord that seems more personalized, again, in a full-voiced, brassy delivery that can’t help rattle a few chandeliers. Such passionate delivery might just cause this gay artist to catapult over and also reach a more mainstream audience. The rarely heard “Two A Day” from Jerry Herman’s 1960 Off-Broadway revue PARADE is a rousing, yet poignant, ode to a simpler era. One might suggest a more intimate approach to simple ballads with a check on phrasing. That aside, if you like big show tunes belted with an indomitable delivery coupled with a lot of sass, Jesse Luttrell is the winner. He and Fred Barton deserve a lot of credit for such a gutsy, lionhearted style that’s needed today. One feels this is only the beginning.
Posted on: Sat, 13 Sep 2014 19:43:47 +0000
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