Kurt Elling, a singer with authoritative improvisational skills and a relaxed baritone, covers a few Frank Sinatra-associated songs on his upcoming CD, “Nightmoves” (Concord). He doesn’t believe he’s doing Sinatra one better, however. He’s merely acknowledging one of the glorious ghosts of music history.
“Sinatra is like this giant oak tree that puts everybody else in the shade,” said Elling, who will perform Wednesday at the Soiled Dove Underground. “That’s been true ever since he came on the scene. He was beyond talent. It’s the sound, the vibrations of his voice. There are all kinds of guys who want to be that guy (Sinatra).
Sinatra is just one of many touchstones for Elling. His discs also show how he’s been moved by the exciting vocalese of Eddie Jefferson, the Beat poetry-excursions of Mark Murphy and the soaring effortlessness of Jon Hendricks. I can’t think of another contemporary male singer who has successfully absorbed so many aspects of the vocal jazz tradition. And if he’s not yet a star along the lines of Diana Krall, he isn’t complaining.
Elling says his ascending popularity is “almost regional” at this point. “Cities in the Pacific Northwest” and “towns with music schools.” He’s pleased when “high school and college-age kids are screaming their heads off” at one of his performances.
One of Elling’s favorite shows took place in Colorado at the UNC-Greeley Jazz Festival in 2003. “That was a gas! I never had so many kids screaming for me.”
Screaming kids? How does he make that happen?
“I’m a singer, and people can listen to a singer,” he said. “Singers have always been ambassadors for the music (jazz). Some instrumentalists have a hard time commanding a broad audience.”
“Maybe they want to be like Miles (Davis) and turn their backs on the audience. Or maybe it’s because people are less inclined to listen to instrumental improvisation.”
Elling’s appeal may have to do with his seemingly intuitive relationship with his touring group, including pianist Laurence Hobgood. Hobgood has served as an important collaborator since Elling burst on the international scene out of Chicago more than a decade ago.
“I think it’s important to have a working band,” he said. “On a given night I can call any of 50 or 60 tunes, and we can pull it out and lay it down in addition to playing new material in a semi-coherent fashion.”
I wondered about his continued fascination with Beat poets like Jack Kerouac and Allen Ginsberg, both of whom made Colorado their home at various points. Elling has investigated the works of both men and has been known to perform onstage in a style similar to Kerouac’s delivery.
“They brought poetry and that kind of reality to the microphone,” he said. That’s a hopeful thing for humanity; to articulate what it means to be a human being.”
Kurt Elling, 8 p.m. Wednesday at The Soiled Dove Underground, 7401 E. First Ave. Tickets are $30 in advance; $35 day of show. Call 303-366-0007.
Set list
We don’t just have Elling’s performance to look forward to this week; suddenly Denver is practically Manhattan, at least jazz-wise. On Tuesday, trumpeter Ralph Alessi brings his quintet to Dazzle, featuring saxophonist Ravi (and son of John) Coltrane … also on Tuesday, guitar wizard Stanley Jordan plays Boulder’s Fox Theatre as it celebrates its 15th anniversary … Tony Bennett graces the Buell Theatre on Friday … here’s a promising collaboration that should generate sparks: guitarist Pat Metheny and pianist Brad Mehl- dau, with their group at the Paramount on Saturday … trombonist Michael Vlatkovich and band are scheduled March 24 at the Mandala Center.
Bret Saunders’ column on jazz appears every other Sunday in A&E. Saunders is host of the “KBCO Morning Show,” 5:30-10 a.m. weekdays at 97.3-FM. His e-mail address is bret_saunders@hotmail.com.
