Erin Dickins

Erin Dickins elevates the concert going experience to a new high in all of her technique. Whether singing, addressing the audience, or merely her smile that could light time square, she has an awesome stage presence that belongs on a national audience forum. Never so professional it's snooty, never too shy or laid back. Following a powerful nicely built-up entrance, she embraced the setting with a heartfelt rendition of Bobby Troup's "Nice Girls Don't Stay For Breakfast." Celebrating it as a love song with a bit of a novel twist, she always stayed on task in her presentation, hearty and humorous at appropriate times. From there, the standard "I Just Found Out About Love" picked up the tempo and took us along with her on this most enchanting journey. Whether familiar with one or no other renditions or fifty of them, it was an original. Likewise with "Je Cherche Un Homme," a song affiliated with Eartha Kitt, yet perfectly suited for Erin. Again, the pick-up of tempo was well timed with "Tain't What You Do," a song she conveyed deep fondness for as she delivered it. Another heartfelt treatment came with the Vincent Youmans' "Sometimes I'm Happy," which was not just quick straightforward take on the beloved standard, it was more a unique opportunity to scat and freestyle, with some nods to Lambert Hendricks and Ross. "I Must Have That Man" was the most serious and charmingly stern songs of the evening, and a nice reminder of her dedication to her craft. The sultry "Give Your Mama One Smile" was a song one might wish Erin had all to herself, as she played it out like a personal discovery, though nowadays it's become associated with Madeline Peyroux, as Erin mentioned. Then came a real showstopper, "Stayin' Is The Only Way To Go," a song previously recorded in the western swing mode by its cowriter, Gene Pistilli (Erin's Manhattan Transfer band mate), the song is presented in an light urban jazz/Cajun rock style arrangement that makes it impossible to imagine it any other way. She played out every word in the song like she had studied method acting to perform it, and was full of positive energy in doing so. Erin took a break and handed the mike over to the costar of the evening, pianist extraordinaire Stef Scaggiari, who held his own exquisitely with "You Been Steppin' Out." A nice change of pace, and a pleasant lead in to Erin's return with Richard Rodgers' "Loads Of Love." The most memorable spoken lines followed that song, with talk about her marriage (in which I learned a new term, "wife-in-law"), that turned out to be a lead in to the standard "Handyman" (not to be confused with the Jimmy Jones classic r&b song of the same title that James Taylor later did as a folk ballad). She spoke very flattering words of Jesse Frederick next, and sang his ballad "Long Ago And Far Away" (not to be confused with the Jerome Kern/Ira Gershwin standard), along with a guest cellist, Carey Miller. Frederick himself came onstage next for a rousing duet of "Can't We Be Friends," for which he proved himself in a league with Jon Hendricks. "Walkin' With Your Bare Feet On" rocked the house, and featured Frederick on guitar, and opening act guitarist/vocalist Kentavius Jones joining the band for a good time. It swung out the evening as it wrapped up, only to be followed by an intimate finale of bass and piano accompaniment on the Frankie Laine standard "We'll Be Together Again," a song in which it's hard to imagine anyone adding originality to, only to be blown away by Erin doing just that. Max Murray played like an all purpose bassist, a little rock, a little blues, a little song standard all in one clever package. Likewise, Frank Russo on drums keeping the whole show afloat. The horn section of Pete Berenbregge on sax, Scott Ragsdale on Trombone, and Tim Leahy on trumpet added backbone, style, and a lot of class. Linda Mitchell and Ed Shockley were a necessary inclusion as they had the perfect vocals to enhance Erin's one of a kind voice. The Avalon theatre gave a lucky audience a show fit for the London Palladium. Watching Kentavius Jones was an eye opening experience. He's either way ahead of his years, or looks great for his age, as he has the maturity in his sound and stage mannerisms of a sixty-year veteran. Very friendly and inviting presence. Not just professional beyond belief in terms of style, also as proficient as they come. He was introduced as being influenced by Cole Porter as much as Jimi Hendrix, and it's all so apparent. He sings beautifully, and works magic with the guitar. Light and heavy, rocking and soulful, he presents his material with gusto. From a brand new reggae styled original to homage to one of his idols, Al Green with "I'm Glad You're Mine," Jones along with bassist Ian Trusheim and drummer Benjamin Cowen, was alone worth the price of admission. No cheap dispensable warm up act here.

Erin Dickins elevates the concert going experience to a new high in all of her technique. Whether singing, addressing the audience, or merely her smile that could light time square, she has an awesome stage presence that belongs on a national audience forum. Never so professional it's snooty, never too shy or laid back. Following a powerful nicely built-up entrance, she embraced the setting with a heartfelt rendition of Bobby Troup's "Nice Girls Don't Stay For Breakfast." Celebrating it as a love song with a bit of a novel twist, she always stayed on task in her presentation, hearty and humorous at appropriate times. From there, the standard "I Just Found Out About Love" picked up the tempo and took us along with her on this most enchanting journey. Whether familiar with one or no other renditions or fifty of them, it was an original. Likewise with "Je Cherche Un Homme," a song affiliated with Eartha Kitt, yet perfectly suited for Erin. Again, the pick-up of tempo was well timed with "Tain't What You Do," a song she conveyed deep fondness for as she delivered it. Another heartfelt treatment came with the Vincent Youmans' "Sometimes I'm Happy," which was not just quick straightforward take on the beloved standard, it was more a unique opportunity to scat and freestyle, with some nods to Lambert Hendricks and Ross. "I Must Have That Man" was the most serious and charmingly stern songs of the evening, and a nice reminder of her dedication to her craft. The sultry "Give Your Mama One Smile" was a song one might wish Erin had all to herself, as she played it out like a personal discovery, though nowadays it's become associated with Madeline Peyroux, as Erin mentioned. Then came a real showstopper, "Stayin' Is The Only Way To Go," a song previously recorded in the western swing mode by its cowriter, Gene Pistilli (Erin's Manhattan Transfer band mate), the song is presented in an light urban jazz/Cajun rock style arrangement that makes it impossible to imagine it any other way. She played out every word in the song like she had studied method acting to perform it, and was full of positive energy in doing so. Erin took a break and handed the mike over to the costar of the evening, pianist extraordinaire Stef Scaggiari, who held his own exquisitely with "You Been Steppin' Out." A nice change of pace, and a pleasant lead in to Erin's return with Richard Rodgers' "Loads Of Love." The most memorable spoken lines followed that song, with talk about her marriage (in which I learned a new term, "wife-in-law"), that turned out to be a lead in to the standard "Handyman" (not to be confused with the Jimmy Jones classic r&b song of the same title that James Taylor later did as a folk ballad). She spoke very flattering words of Jesse Frederick next, and sang his ballad "Long Ago And Far Away" (not to be confused with the Jerome Kern/Ira Gershwin standard), along with a guest cellist, Carey Miller. Frederick himself came onstage next for a rousing duet of "Can't We Be Friends," for which he proved himself in a league with Jon Hendricks. "Walkin' With Your Bare Feet On" rocked the house, and featured Frederick on guitar, and opening act guitarist/vocalist Kentavius Jones joining the band for a good time. It swung out the evening as it wrapped up, only to be followed by an intimate finale of bass and piano accompaniment on the Frankie Laine standard "We'll Be Together Again," a song in which it's hard to imagine anyone adding originality to, only to be blown away by Erin doing just that. Max Murray played like an all purpose bassist, a little rock, a little blues, a little song standard all in one clever package. Likewise, Frank Russo on drums keeping the whole show afloat. The horn section of Pete Berenbregge on sax, Scott Ragsdale on Trombone, and Tim Leahy on trumpet added backbone, style, and a lot of class. Linda Mitchell and Ed Shockley were a necessary inclusion as they had the perfect vocals to enhance Erin's one of a kind voice. The Avalon theatre gave a lucky audience a show fit for the London Palladium. Watching Kentavius Jones was an eye opening experience. He's either way ahead of his years, or looks great for his age, as he has the maturity in his sound and stage mannerisms of a sixty-year veteran. Very friendly and inviting presence. Not just professional beyond belief in terms of style, also as proficient as they come. He was introduced as being influenced by Cole Porter as much as Jimi Hendrix, and it's all so apparent. He sings beautifully, and works magic with the guitar. Light and heavy, rocking and soulful, he presents his material with gusto. From a brand new reggae styled original to homage to one of his idols, Al Green with "I'm Glad You're Mine," Jones along with bassist Ian Trusheim and drummer Benjamin Cowen, was alone worth the price of admission. No cheap dispensable warm up act here.