Last Call

Last Call
John Harmon & Janet Planet Ballads
Stellar Sound Production
CD | Digital

Jazz pianist/composer, John Harmon and vocalist, Janet Planet reunite with an intimate collection of ballads. Beautiful words and melodies by the greats and some original compositions complete this mesmerizing set of songs from the heart.

“A perfect partnership for poignancy. That describes the felicitous work by singer Janet Planet and pianist John Harmon on their new recording. In my years of reviewing and record-collecting, I’ve listened to hundreds of entertaining crooners and belters, seen many perform in person, but this vocalist with excellent taste and a beautiful timbre is in the very top tier for me. Her being on board with the veteran keyboardist is nothing new–she’s joined him in the studio and on stages semi-regularly over the decades. I’ve been eager for their new reunion album, which I’d been hearing about for months, and at last Last Call is here. It’s just the two of them, treating the repertoire with restraint and tender loving care, so the atmosphere is strikingly intimate, pulling in a listener, as if the words and moods were being shared in confidence.

The classy collection is fluff-free, full of quality material featuring artful melodies and mature, emotive lyrics that are articulate. Many are on the serious side, and some settle into melancholia but never veer into maudlin territory. Their elegance prevents that. Repertoire includes picks from musical theatre, jazz, standards, and originals. Mr. Harmon is also a composer and further evidence here of his compatibility with his companion in song is the inclusion of a couple of numbers he composed with Miss Planet’s adept lyrics. I especially like their “Once I Thought I Knew,” which covers how time and experience change one’s thoughts about love, from idyllic fairy-tale expectations to balanced reality checks.

In the shared mission to mine the full potential of graceful melodies and each lyric’s nuances and perspectives, the two talents are solidly on the same page–never competitive, but always complementary. It’s as if they’re breathing together, unspooling the stories and observations phrase by phrase, considering and examining them, choosing subtle colorings to emphasize individual words or notes and give some more weight. It’s masterful, with impressive attention to detail, yet always seems natural and authentically “in the moment” rather than effortful or calculated. While the piano reinforces or accents the phrasing of the singing, during the instrumental breaks the playing may extend the narrative with the freedom to explore the components of the melody and add original touches.

First introduced in 1947, 1948, and 1949–respectively–come three of Last Call’s treasures. Let’s take them in year order. Alec Wilder’s “Did You Ever Cross Over to Snedens?,” written for Mabel Mercer, is appropriately wistful and must be a personal favorite of Janet Planet’s as she’s called on it three previous times in her discography before its newest nailing. “Detour Ahead” flashes warning signs along the rocky road to romance and finding the off ramp. Similarly, when faced with a tempting connection, caution is advised as a note-to-self in “My Foolish Heart,” a movie title song.

The “showtune alert” concerns the gratifying appearances of choices from two musicals: one that’s a little more than 80 years old and the other being a little less than 20 years old. 1944’s On the Town, written by Leonard Bernstein, Betty Comden and Adolph Green, gets two samplings (the track list with songwriter credits accidentally omits Green’s name for one). They are “Lucky to Be Me,” taken at a tempo relaxed and slow enough to let each of its many delighted comments expressing gratitude for unexpected happy happenings be relished, like a gift that keeps on giving. Jubilation is infused with awe; the line “I am simply thunderstruck” now sounds less like casual hyperbole. The other item from the score, expressing the hope to meet again “Some Other Time,” is invested with believable yearning, implying optimism about a future reunion.

Throughout the recording, certain words are so feelingly intoned, summoning images so that in our mind’s eye we can “see” them. This is especially true with the theatre song from 2006 as we conjure up each depressing sight described in “Another Winter in a Summer Town” from Grey Gardens. It also memorably compares faded dreams to “roses that died on the vine.”

Roses are referenced in a total of five sensitively rendered items among the 15 pieces. They bloom in our heads with the delicate “A Flower Is a Lovesome Thing” and “You Are There.” Irving Berlin’s question-filled “How Deep Is the Ocean (How High Is the Sky)” also inquires, “How many roses are sprinkled with dew?” That which we call a rose comes up yet again in “The Days of Wine and Roses,” a bravely downbeat version of the movie theme that doesn’t idealize the memories referred to in the lyric. The bouquet of ballads can be sampled (with 30-second clips) and purchased–separate tracks or the whole program at the label’s website where other releases by Janet Planet and/or John Harmon can be found.

The Planet/Harmon harmonious pairing is pure pleasure for the ears.”

—Bob Lester, Talkin’ Broadway

Ballads

It can be difficult to record a ballad album of vocal-piano duets. To be successful, the singer needs to have a beautiful and inviting voice, the ability to create very expressive interpretations, have a solid sense of swing, and be able to make each sound and moment of silence count. The pianist, operating as a full band, must be closely attuned to the singer’s phrasing and creative flights, inspiring the vocalist as both an accompanist and an occasional soloist while not overshadowing the singer. In addition, the duo must pick out superior songs (whether standards or originals) that will challenge themselves while holding onto the listener’s attention.

On their ballad album, singer Janet Planet and pianist John Harmon succeed on all levels. They last recorded a duet project in 1995 (More Beautiful Than Planned) and the pianist was in Ms. Planet’s group on the 2008 album Of Thee I Sing. On Ballads, they perform a dozen beloved standards plus three originals. From the start of the opener, “Lucky To Be Me,” it is obvious that their years of performing together makes it possible for them to think as one. The singer’s rendition of the song’s verse perfectly sets up the chorus and Harmon’s half-chorus continues and accentuates the quietly joyful mood.

On “My Foolish Heart,” Janet Planet sings some beautiful long tones. A slightly faster than usual version of “Detour Ahead” and an atmospheric rendition of “A Flower Is A Lovesome Thing” are equally successful as is the duo’s haunting original “Once I Thought I Knew.” “Another Winter In A Summer Town” is a change of pace, a dramatic performance that shows that the singer can really belt out a tune when the song calls for it.

Further contrasts are offered on a dreamy version of “How Deep Is The Ocean” during which Ms. Planet sounds very much like a woman in love, and Harmon’s touching original “Soliloquy.” Other selections include Dave Frishberg’s classic about lost love (“You Are There”), the wistful “Did You Ever Cross Over To Snedens,” the singer’s handling of the ironic lyrics of “I Get Along Without You Very Well,” and two songs associated with Bill Evans: “Very Early” and Leonard Bernstein’s “Some Other Time.” The biggest surprise of the set is a very dark version of “The Days Of Wine And Roses” which is a reminder that the usually hard-swinging song is actually about alcoholism and possible hopelessness. Ballads concludes with “Farewell Old Friend/Last Call” which gives the pianist an opportunity to stretch out during its first half before Janet Planet wraps up the memorable set.

The chemistry between Janet Planet and John Harmon throughout Ballads results in a memorable and thoughtful outing full of subtle creativity. This easily recommended album is available from www.stellarsound.net.

Scott Yanow, jazz journalist/historian