IT’S JAZZ. IT’S JOY. IT’S JUDY
On the very rainy night May 14th, performing at that place called Pangea, the attractive venue on Second Avenue in Greenwich Village, vocalist Judy Wexler is the featured attraction. It’s a one-night-only opportunity to catch her, so it’s worth getting wet. Notably, a cluster of admirers includes other singers who love her jazz-rich way with good songs and know the musical smart, distinctive-voiced California-based lady is not known for being in town often so they take advantage of the opportunity, and show their appreciation as she delivers a lyric like this one:
“You’d better love me while you may.
Tomorrow I may fly away….
You’d better love me while I’m here.
I have been known to disappear.”
In its original context, written for the Broadway production High Spirits (a musical version of Noel Coward’s play Blithe Spirit), the ghost of a man’s deceased first wife materializes during a seance and she is asking for his attention during what may be a brief appearance before she returns to Heaven. Like many lyrics written for older musicals, the words, intentionally or by lucky accident, fit the specifics of the plot AND can stand on their own if they have generalized or other meanings out of context — or if the lines most strongly tied to the play’s story are in an introductory verse that can be dropped. Judy Wexler would soon be flying (on an airplane) and “disappear” can mean something other than poof! she’s gone in an instant. A later part advising “Don’t let this miracle melt away” originally referred to the miraculous movement of a soul from one dimension back to the earthly one, but it can be thought of as the rare instance of meeting a possible soulmate when both parties are alive in the same space. If anything, Judy Wexler presents herself as very down to earth (even if her performance is kind of heavenly) and her casual patter is friendly and folksy. This non-narcissist interpreter of famous and non-famous fare wouldn’t hyperbolically suggest that her good work is a “miracle.” We can leave such exaggerated boasts to a publicist.
This lady can swing, put across a yearning ballad, get into a groove, and have fun with a tongue-in-cheek attitude, such as the winking selection with the thesis that any seemingly troublesome situation that comes up can be easily handled — except one. And that’s named in the title: “Comes Love.” It was introduced by another Judy – Judy Canova – playing a character named Judy in a Broadway musical named Yokel Boy that you probably missed before it closed 85 years ago. The night’s interesting mix also features: “The Summer Knows” (from the film Summer of ’42, released in the spring of ’71); the title song of a Broadway musical that debuted in the summer of ’52: Wish You Were Here; and a sweet Nat King Cole hit from the summer of ’63, “That Sunday, That Summer.” Much of the set draws on her most recent recording, released in the winter of ’25, her seventh album: the rather wonderful No Wonder.
Surrounding herself with solid musicians adds to the comfort zone vibe. She gives them plenty of time for tasty instrumental breaks. On the bill are bassist Bill Moring, pianist Jim Ridl, drummer Tim Horner, and sax man Tim Armacost who offers some strong solo spots. Bill, Jim, Tim, and Tim are given the audience’s consistent attention and appreciative applause, with plenty of praise at Pangea also directed towards the skillful lady on stage.
There are many singers of note performing in downtown Manhattan where Pangea is located. At Joe’s Pub on June 2, many will be at that venue for the starry annual gala happening, drawing on the repertoire of Judy Garland called Night of a Thousand Judys. But it’s also nice to spend some quality time with just one joyfully jazzy Judy.
Judy Wexler
Wednesday Night Jazz Series
Pangea NYC, 178 2nd Ave
reviewed on May 14, 2025
for more Pangea shows, visit Pangea
for more info and tour dates, visit Judy Wexler
