REVIEW Manhattan Transfer wows the audience

The Grammy-winning vocalists mixed familiar classics with new works.
By ROBERT ROLLIN
VINDICATOR CORRESPONDENT
On Sunday evening in Stambaugh Auditorium, the Monday Musical Club presented the renowned vocal group Manhattan Transfer in a diverse musical feast of jazz, rhythm and blues, doo-wop, Latin, and rock 'n' roll. Bass singer Tim Hauser has kept the ensemble going for more than 30 years with successes including eight Grammys, millions of record sales, and induction into the Vocal Group Hall of Fame in 1998.
Hauser was joined by alto Janis Siegel and tenor Alan Paul in 1971, and by soprano Cheryl Bentyne in 1979. All are versatile and gifted, and presented a show that intermingled their older hits with newer renditions.
The high point of the evening was Janis Siegel's singing the old Ella Fitzgerald hit "A-Tisket, A-Tasket." Her vocal projection was amazingly clear as she presented this up-tempo piece from the group's early days. Siegel has a sweet quality that is similar to Fitzgerald's, and she displayed her talent further in a truly wonderful vocalized imitation of a muted trumpet solo that was warmly appreciated by the audience.
This was immediately followed by a beautiful, sensitive solo love ballad sung by Hauser that is slated to be released in his upcoming first solo album. His presentation was nothing short of exquisite.
Siegel's scat solo on the old standard "Tea for Two" was terrific. The number also had some lively mood and tempo changes.
Outstanding backup
The importance of a backup instrumental group for an ensemble such as Manhattan Transfer should not be underestimated. In this case the instrumental performers, including guitarist, percussionist, pianist/synthesist, and bassist, were exceptional.
Guitarist Wayne Johnson was extraordinary throughout. Johnson's solo for "A-Tisket, A-Tasket" was world class, as was his speedy contribution to the bebop number following "Candy." The latter featured gifted tenor Alan Paul. On Rufus Wainwright's "Sweet and Sour," Johnson provided another sure-handed and musical solo.
Percussionist Steve Haas demonstrated great skill on drums and auxiliary percussion. He provided wonderful use of maracas while still playing snare drum with his other hand in "Tea for Two." On the aforementioned Rufus Wainwright composition he produced similar Latin flair on castanets, while simultaneously maintaining the drum beat. His playing was remarkably sensitive on "Walking in New York."
The pianist/synthesist (whose name was omitted from the program), was equally outstanding. His swing solo in "Route 66" maintained interest in the piece, as did his more lyrical one, in Tim Hauser's solo ballad. He provided many interesting timbres on synthesizer, as in "Greek Song," where he sounded like a spirited bouzouki, the Greek fretted solo instrument. On "Sweet and Sour" his synthesizer became an accordion to provide yet another convincing solo.
The closing set included old favorites "Operator," "Birdland," and best of all, "Java Jive" as an encore.