DIANNE REEVES’ WITH LOVE RECEIVED WITH LOVE
If Grammy-winning singer Dianne Reeves’ suitcase could talk (and I’m guessing that it can’t), it would tell tales of trekking all over the world for her engagements, packed with flowing stage garb and memories. Recent and upcoming months include gigs in such exotic places as China, Germany, Japan, Czechia, Poland, Hungary, Austria, and New Jersey. Suitcase and songstress get around. And, charging through her repertoire for a two-night stopover in New York City, she gets around to traveling along all kinds of musical routes, bringing jazz and joy to gems born in South America, on Broadway, one first heard over the titles of a movie, the old Isley Brothers’ smooooooth R&B hit “For the Love of You,” and more.
The veteran with a voice of great range and dexterity has made it a tradition to appear at Jazz at Lincoln Center on or around Valentine’s Day each year and the actual heart-centric holiday and the following evening were on the schedule this time at the Rose Theater down the hall from Dizzy’s in that complex. In ample evidence: heart and soul, songs about sweethearts, and other heartfelt material. “Heartbreak” as well as “rapture and anguish” were themes promised in press promotional material and advertisements, but heartbreak and anguish are largely missing in action, and I doubt that many audience members mind being misled about misery. It’s rewarding viewing romance through rose-colored glasses at the Rose Theater.
The musicians are splendid, solid, and in sync, with some dazzling solos: pianist John Beasley, bassist Reuben Rogers, drummer Terreon Gully, and guitarist Romero Lubambo, the sole accompanist for a few exquisite, laidback intimate-feel selections. The band is often on fire, starting with a busy instrumental before the entrance of the woman of the hour (or an hour and a half). Fans welcome Miss Reeves with much applause as she begins “What’s New?” and is able to return the concern by addressing the titular question addressed to them, instead of the original bittersweet context of running into an ex-lover and feeling self-conscious. It’s lively instead, fast-paced, happily greeting old friends and asking how they’re doing; she changes the line “And you were sweet to offer your hand” to acknowledge the applause, making it “And you were sweet to give me a hand.” Connection is made. Participation comes with some call-and-response as spectators are invited to chime in, repeating simple phrases such as “Yeah-yeah” or “oh-oh” on pitch. Many do. At one point, a voice in the large venue yells out, “Sing it, baby!” At other times, the concert hall is hushed as the singer becomes a musical instrument emitting open vowel sounds, soaring through wordless melodies, putting her range in the spotlight, with especially stunning resonant low notes. An uber-energetic showpiece becomes a percussive, driving tour de force, suggesting a sage earth mother.
Devotees could revel in renditions of numbers they remember from her recordings released in the previous century, such as the tender “Bridges,” the amiable “Social Call,” and the elegant “You Taught My Heart to Sing” (which is saved to be the encore, presented after prolonged applause following the star’s exit). The above-referenced film song asks the musical question “What Are You Doing the Rest of Your Life?”; it is rich and radiant. (This gorgeous Michel Legrand/ Marilyn & Alan Bergman ballad was nominated for an Academy Award, but lost to “Raindrops Keep Fallin’ on My Head.”) Pieces written for musical theatre productions are a buoyant “I’m All Smiles” from the short-lived The Yearling from 60 years ago and one that will be 100 years old next year: the Gershwins’ “Someone to Watch Over Me.”
The dynamic performer, who projects strength and command, but can also suggest a vulnerable side, expresses her appreciation of the spectators and the musicians, singing some of her compliments about them. Dianne Reeves references the unsettling times we’re living in, assuring us that we’ll get through, and that music can help. At the very end, she gets more unapologetically direct — with the parting, pointed plea: “Stay woke!!”
Dianne Reeves: With Love
Jazz at Lincoln Center’s Rose Theater, Broadway & W 60th St
reviewed February 14, 2025 (also played February 15)
for more shows, visit Jazz at Lincoln Center
for info and tour dates, visit Dianne Reeves
