Pleasing Cacophonic Banjo

ORIGINALITY CORNER
There’s something to be said for the comfort of a tiny and dingy jazz club hiding beneath a New York City street, especially when it hosts a class act. Recently, Cynthia Sayer, a name that should be branded into every jazz fan’s repertoire, stands alone and strong in what she does. Beyond making beautiful music on her banjo, a set with Sayer is a set with heart.

Not too long ago at a gig at Smalls, Sayer commented on how she loves to play little places because of their intimacy level. She’s absolutely right, and they love her. Being up-close to her music is much like a family gathering in a cozy living room.  Clapping hands and singing along is perfectly acceptable. Her hybrid jazz presentation and theory is like no other incorporating bluegrass and folk, with ragtime and swing, while grounding structure in jazz. The consideration Sayer puts into every single note is apparent and appreciated; time shouldn’t be rushed.  Conceptually keeping with the twang, remarkable composition is what Sayer does best.

The first time I saw Sayer perform was at a reception for the Rex Foundation, her trio was there for instrumental mood music. To see Sayer do her thing, in her type of place, was the world of difference, it’s like she sits her audience down to have a conversation with them. Her personality is light and gentle, coming through crisp to the most discerning ear. Her arrangements have an element of class that is no longer seen in today’s music, intelligently light. She interacts with her crowd not just by talking and smiling to them, but with a subtle provocativeness and a sense of humor.

When Sayer sang Benny Goodman’s “The Glory of Love” she brought tears to the eyes of the person next to me. Her voice is sweet and modest, contradicting the seriousness of her chops. And this vibe isn’t just reserved for reaching the audience, but for the motivation and excitement that happens on stage between her and her band mates; John Allred (trombone), Mike Weatherly (string bass), and Larry Eagle (drums). They produce a history of jazz in an hour set.  You just don’t hear sounds like this anymore.

Sayer is accredited globally and has played many of the top jazz festivals, she has extensive film/TV credits, and has played with some heavy hitters; Bela Fleck, Wynton Marsalis, Tony Trischka, and Les Paul.  She was also the “official” banjoist for the New York Yankees. Recently, Sayer was filmed for and is actively involved with the PBS documentary, The Banjo Project, which is expected to air in 2010. The film is about the developmental effect of the banjo, back to its African roots, and how it’s glorified by contemporary players.

It’s just a great time to listen and appreciate Sayer’s music. Her spirit is fulfilling and her talent is immense. It takes a certain someone to make you smile a whole set through. More importantly, Sayer has set the bar in a male dominated profession. For more on Sayer go to CynthiaSayer.com.

by Genette Nowak