Nurullah dazzled crowd at Kerrytown

The Kerrytown Concert House is one of those venues that remains largely unnoticed by the student population, an assumption confirmed by the fact that Saturday's audience for Shahida Nurullah collectively remembered the release of Charlie Parker's "Bird is Free" record. Though most of us young whippersnappers may have never owned a record, or possibly never even seen one, it's a shame there wasn't a bigger student turnout at this anything but small-time house.

Huddled intimately around the "stage," which consisted of nothing more than an empty patch of floor occupied by the ensemble, the audience felt like guests at a private soireé.

A frenetic instrumental opener showcased the exceptional talents of the intense Ann Arborite Paul Keller on upright bass and Larry Nozero on sax. Jubilant pianist Rick Roe and drummer George Davidson provided whimsical, skillful interludes.

Courtesy of Kerrytown Concert House Shahida Nurullah sang at the Kerrytown Concert House on Saturday night.

Clad in a glittery gown and door knocker earrings, Nurullah made her entrance, initially not quite up to par on a rendition of "Love is the Greatest Show on Earth." But by her second number, Carlos Antonio Jobim's "A Felicidade," she and the band kicked it up to full speed. Nozero traded his saxophone for a flute, an appropriately haunting addition to the lilting Brazilian melody.

"I have about a hundred favorite songs," Nurullah confided to the audience in an anecdotal tone.

"Everything I'm doing tonight is one of my favorite songs," she continued, breaking into a languid, melancholy version of "If You Went Away." Nurullah's impressive range highlighted her buttery-smooth voice that likens her more to Roberta Flack than to the gravelly croon of Billie Holiday.

Her rich alto and polished soprano created a delightful interpretation on a Henry Mancini medley and a version of "Autumn in New York," including previously unrecorded verses.

Another fantastic Brazilian number by Jobim preluded the highlight of the evening, a smoldering interpretation of "Save Your Love For Me," featuring a sensual sax solo.

Nurullah's performance, while virtually flawless and impeccably controlled, lacked the kind of belt-it-out improvisation that makes a live show unique. That is, until Nurullah announced, "I have to do a blues."

Blues it was. Roe frolicked on the ivories, Davidson communed with the drums, veins bulged on Keller's forehead and Nozero wailed away on, amazingly enough, the clarinet. And Shahida crooned: "I'm built for comfort/ I ain't built for speed/ I got everything/ All you good men need." Then, we were fulfilled.

01-25-99