QUITE A NIGHT WITH MISS WHITE
The series of concerts by Lillias White at 54 Below—running nightly through March 29 (and live streamed on the 28)—is billed as Divine Sass: A Tribute to Sarah Vaughan: An Album Release Concert. But a few songs in the lively and enjoyable set weren’t connected to the honoree’s career. And despite being very chatty, surprisingly few remarks from the lady on stage were about the late diva. And unlike many an album release event there was no announcement, no CDs available for sale in the lobby. The star’s on-stage mention of the recording was a vague reference to its release as being “later this year.”
Thus, the focus on the icon whose nicknames “The Divine One” and “Sassy” are indicated in that show title, Divine Sass, came in the form of a spoken introduction. which was mostly a disclaimer within a declaration: White said she admired the velvet-voiced Vaughan’s talent, but she herself can’t approach the legend’s five-octave range. Still, there were flashes of the influence, and even the look (at certain angles) when vocal notes were more elastic—bent, split, sliding, soaring a bit, going from a resonant deep tone or brash gutsiness to a purer, pretty higher place, along with some jazzy-pizzazzy scat-singing.
In her own way, not especially Vaughan-adjacent, Lillias White can be a delight, full of energy and cheer. While her vocal chops are impressive—especially for someone in her 70s, an age she blithely announced, twice saying that “they don’t make grandmas like they used to”—and she’s very musical and resourceful, she comes off first and foremost as an ENTERTAINER. With a broad smile, a twinkle in her eye, this game audience-pleaser struts across the stage, full of mischief and mirth. She can be bawdy at the drop of an eyelash, grabbing her ample bosom on a lyric about clothes fitting well, starting to writhe and shimmy, almost bumping and grinding on numbers with double entendres.
The voluminous Vaughan discography offers many choices. She recorded zillions of standards, jazz specialties, and plentiful pop (much of that lightweight, second-rate, and ephemeral). The program began effectively with a medley of “It’s Crazy (But I’m in Love)” by Timmie Rogers and Al Fields plus “Crazy He Calls Me” by Carl Sigman and Bob Russell. Standouts with the status of standards included were two others: “Misty” and “The Man I Love” (beginning warmly and heating up to almost wildly celebrational). These were all recorded by Sarah Vaughan between 1949 and 1960. A later exploration of Brazilian music was represented, too. Far less Vaughan-relevant were “Don’t Rain on My Parade” (the feisty finale) and, from the repertoire of the rock group Queen, “You’re My Best Friend” (an item that appeared on her last album Get Yourself Some Happy), and two numbers that let the playful gal get more than slightly suggestive: “Bread and Gravy,” associated with Ethel Waters, and “I’m Getting ‘Long Alright.”
Mathis Picard and Lillias White (from White's Instagram)
Loquacious Lillias veered away from Vaughan frequently, devoting time to tales of her own life on opening night: these included telling the crowd about her dog; a disorienting drug-enhanced dip in a lake; her roots in Brooklyn (leading to comparing notes and neighborhoods with audience members from the borough); and a song set-up revealing that she was married three times. She might have brought the focus back there, as Sarah Vaughan was thrice wed, too! The timing of this gig would be an opportunity, also; March 27 is the 101st anniversary of the day baby Sarah Lois Vaughan came into the world and next week is the 35th anniversary of her passing. Three selections represented Vaughan as a songwriter, but that credit was only acknowledged for one of the numbers, a curiosity called “Anytime” that wasn’t finished in her lifetime and was only recently picked up by veteran lyricist Alan Bergman. (Better late than never.)
Between the digressions and the flirting with men in the audience (“What’s your name? Are you married?” the irrepressible performer asks the gentlemen who bring her a chair and help her take off her shoes), there’s a lot of swell singing, some certainly sassy in this salute to Sassy. And it’s all supported superbly by the set’s sole musician: the dynamic, active and reactive Mathis Picard. Skillful and inventive, he’s charismatic—a pleasure to hear and observe. A special treat was when he took the stage for a very well-received solo. It was the theme from the movie Pinky. (Sarah Vaughan had lent her voice to the soundtrack—not crooning words per se, but just syllables like ”la-dee-dah”).
While loyal Sarah Vaughan fans may be disappointed that (at least judging by the first night) there aren’t many anecdotes, insights, or revelations about the star, Lillias White and her primo pianist put on a sparkling show with musical merit and moxie.
photo of Lillias White by Curtis Brown Photography
Divine Sass: A Tribute to Sarah Vaughan: An Album Release Concert
Lillias White
54 Below, 254 W 54th St. Cellar
Thurs-Sat at 7 (doors open at 5:30)
ends on March 29, 2025
for tickets, call 646.476.3551 or visit 54 Below
