By Andrew Poretz . . .
We last wrote about the tremendously entertaining Bryce Edwards in January, when he had his impressive solo debut with a sold-out show at Don’t Tell Mama (read HERE). He has moved the show to Birdland Theater, added two musicians, and changed the set list considerably. We’re happy to report that Bryce has pulled off a big win with his “new and improved” Frivolity Hour, which again sold out. For this review, we will mainly look at what has changed.
Bryce could be a winner of a Fresh Faces of the Twenties – that is, the Roaring Twenties of a century ago. At 23, this very appealing fellow seems entirely sweet and nearly naïve, if slightly mischievous, and is quite funny. He is the Willie Wonka of marvelous musical alchemy.
The Frivolity Hour title conjures some sort of 1930s radio show, something fun and frothy. At a time of tremendous angst and uncertainty in the world, there’s nary a better thing for the soul than an hour or so of frivolity.
Four excellent musicians backed Bryce. Returning were pianist Conal Fowkes and cornetist Scott Ricketts, with the welcome addition of baritone saxophonist Jay Rattman and clarinetist/tenor saxophonist Ricky Alexander. But the one-man band that is Bryce Edwards provided his own virtuoso accompaniment on vintage instruments from his collection: tenor banjo, tenor guitar, soprano ukulele, Stroh ukulele, mandolin, banjolin, slide whistle, and a “Songophone” kazoo. Bryce also arranged all the songs.
The rising star’s utterly unique presentation combined delicious entertainment with education. With his dry wit and an endearing manner, he offered fascinating tidbits about the songs and instruments he played, with help on his copy from jazz historian Will Friedwald.
Bryce, soprano ukulele in hand, opened with “Let’s Misbehave” (Cole Porter). This was a wild ride, as Bryce based his arrangement on Cliff Edwards’ introduction of the song in 1927. Edwards, also known as “Ukulele Ike,” was famously the voice of Jiminy Cricket in the animated film Pinocchio. Bryce played soprano ukulele and at one point utilized the scat-like vocal technique of “eefing,” which Bryce credits to Cliff Edwards (no relation to Bryce).
For “I Found A Million Dollar Baby (in a Five and 10 Cent Store)” (Harry Warren/ Mort Dixon and Billy Rose), Bryce switched to an archtop four-string tenor guitar. Bryce’s instrumental rhythm skills are especially formidable. On “Happy Feet” (Milton Ager and Jack Yellen), now on banjo, he tapped his feet like a penguin, and did an all-out tap dance at the break. “Can you tell I have a musical theater background? Don’t worry, I’m recovering,” he quipped.
“Whispering” (Vincent Rose, John Schonberger and Richard Coburn) was a fun highlight. Bryce played a slide whistle, and then grabbed his soprano uke.
Tremendously improved since January was Bryce’s pair of duets with his girlfriend, Reilly Wilmet. The lovebirds were utterly charming on “Button Up Your Overcoat (Ray Henderson, B.G. DeSylva and Lew Brown). At the January show, Reilly had performed her parts in a modern, musical theater style. Now, she has fully embraced the premise, taking on a character matching Bryce’s time-warped style in tenor and tone, which proved far more effective. At one point, Bryce sweetly wrapped his arms around Reilly from behind to play his ukulele, and at another, they both played Songophones. Bryce switched to mandolin for a reprise of their January duet of the 1908 “Shine On Harvest Moon” (Nora Bayes and Jack Norworth).
Bryce brought out a “banjolin,” which he humorously described as what happens “when a banjo and a mandolin love each other very much…,” for “Where The Wild, Wild Flowers Grow (Harry Woods and Mort Dixon).
For a finale, all the stops were pulled out for “Nobody’s Sweetheart” (Billy Meyers, Elmer Schoebel, Gus Kahn and Ernie Erdman), with Bryce alternating banjo and ukulele solos while wearing both instruments simultaneously. Messrs. Rattman and Fowkes had a swell mid-song duet of baritone sax and piano.
The enthusiastic audience response warranted an encore of a great rhythm number, “Dip Your Brush In The Sunshine (J.C. Johnson and Andy Razaf), which made for a rollicking sendoff.
Do put The Bryce Edwards Frivolity Hour at the top of your calendar when it next comes around. He’s been promoted to the larger Birdland Jazz on January 22, 2024 (prior to Jim Caruso’s Cast Party).
The Bryce Edwards Frivolity Hour took place on October 5 at Birdland Theater, 315 West 44th Street between Eighth and Ninth Avenues (https://birdlandjazz.com).
Photos: Matt Baker
