Fine singing, fine setting

Press, Volume CXVI, Issue 34072, 9 February 1976, Page 16

Fine singing, fine setting

[ The long-held belief in “the singer, not the song” was delicately (trampled underfoot when [the singer, Malcolm McNeill, served 30 or so [fine songs to a capacity [house at a most suitable, though previously unused venue last evening.

Long the traditional scene of Devonshire teas — tea, and scones with raspberry jam and cream — the Takahe deserved the more gentle crowd it drew, intent on judging the merits of long overseas sojourns by talented artists. This was no crowd in I search of blood: a group of I friends rather, hoping to be, -impressed, charmed, tran-[ (sported. They were. [ With very capable support I from other Christchurch musicians — Dorothy [Buchanan, Roger Brown, (John Densem. and Kevin INicholl — McNeill showed [much of what he had learned I in the five or so years overseas, mostly in Britain. The

voice was the same: mellow, light, with fine pitch and delicate control. Added was the timing of the actor or poet, a touch of steel. What most impressed was i the choice of songs. Of the 30, only one I rejected as iniappropriate — and that numjber, “When In Rome.” : brought more audience response than had any other.

Children’s songs, love songs, folk, French, very old. very new songs, ail received individual treatment which allowed each of them to convey its own special charm. A jocular treatment of “It Might As Well Be Spring.” and the lyrical Bill Evans tune, “Waltz for Debby,” laid down the gauntlet — this was to be a tough test — land after LennoniMcCartney’s “Fool On The! I Hili” it looked like a down-: ihill ride. Heavier treatment of an English folk s.ong left the contest in doubt, but “Who Ever Will Dance With the Blind Dancing Bear” was most impressive, and his version of “On the Amazon” would rival that of Don

McLean’s. Other lovelies like Blossom Dearie’s "I’m Hip,” and “All Blues” by Miles Davis clinched the evening, which was broken by food and wine served at intervals, i The other musicians added | much to the enjoyment. [Roger Brown, the gifted I young cellist, played the Prelude to a Bach Suite and an arrangement by Pablo Cassals of “Apres un Reve,” and backed McNeill on other numbers.

The arranger, Dorothy Buchanan, accompanied McNeill in several numbers, guided his choice of others with commendable precision. The pianist, John Densen, proved the Fender Rhodes electric piano a beautiful instrument if used appropriately. and showed deft touch ion piano, and Kevin Nichol (backed the numbers with ■ precise bass and guitar ■ chords.

The success of the evening has encouraged McNeill to offer another next week, and that this, too, is almost sold [out may encourage other (artists to show their talents ‘in this way.—John McNeill