Sam Jewison – Gershwin 125

Before the lights dimmed, my friend commented on the number of women in the audience. As the evening progressed, hearing Gershwin’s songs collectively, I realised why. The songs don’t just speak of an admiration for women, they adore them.

Once Sam Jewison was on stage, the glow of affection for the local boy was palpable. For one evening only, the Stephen Joseph Theatre became a night club. It was intimate and we felt that the relationship was special. Of course, it is not enough that Jewison was very personable, the music had to be extraordinary... and it was.

The ‘125’ of the title reminds us that it is now one hundred and twenty five years since Gershwin’s birth. Having assembled a most impressive musical catalogue, he died at only thirty eight of a brain tumour. Like Mozart, there is no point in speculating what might have been had he lived longer: we must b e grateful for the music we have.

With drummer, Joe Dessauer, and bassist Harry Evans (also trumpet) the set opened with a Foggy Day in London Town and then the complexities of Fascinating Rhythm. The interchange between the leisurely ballad and the up-tempo Fascinating Rhythm were a foretaste of the many contrasts to come.

The dominant style was the jazz that so engaged Gershwin’s consciousness. As additional players – Harry Sankey, on a very mellow toned guitar, and Fraser Smith on saxophone – improvisation opportunities opened up as melodies were passed around the players. Jewison even took the opportunity to indulge in a little scat singing in Nice Work if You Can Get It. Happily, for me (I am not a great scat fan) there were no further repetitions.

One of the great strengths that emerged as the evening progressed was the romantic Gershwin. Barely a dry eye in the House as we were treated to Some Day She’ll Come Along, Someone to Watch Over Me and Love is Here to Stay. On a much breezier note, but still within his romantic oeuvre, was one of the many numbers from An American in Paris - ‘S Wonderful.

Interspersed with the more famous songs, we were treated to the Classical Gershwin. Harry Evans’ trumpet took the lead on Three Preludes but the thunderous applause was reserved for Jewison’s own arrangements of six tunes from Porgy and Bess and the ballet music for the ending of An American in Paris. Musicians must feel, ‘this is why I do this’ when an audience holds its breath in rapt attention. Modern audiences are very polite and maintain silence, but sometimes the quality of that silence must say to an artist, ‘Got ‘em’.

The story goes that when Gershwin went to Paris to develop his skills, the great Nadia Boulanger told him there was nothing she could teach him. Gershwin engaged Ravel for some lessons, but when Ravel heard how much Gershwin could earn in Hollywood, he said that Gershwin should be teaching him, not the other way round.

Ira Gershwin, George’s brother and lyricist, did get a mention at the end. A pity he was neglected since his athletic word-play did so much to counterpoint his brother’s music.

The audience were on their feet at the end and I have not had a better evening in the theatre in the last twelve months.