Michael Danso

L.A. JAZZSCENE MAGAZINE

Reviewer Jim Santella

AN ALBUM OF JAZZ STANDARDS IS ALWAYS A WELCOME TREAT. SINGER MICHAEL DANSO INTERPRETS SUCH CHESTNUTS AS "STOMPIN AT THE SAVOY", "THE VERY THOUGHT OF YOU" AND "SOMEONE TO WATCH OVER ME" WITH A PIANO TRIO AND A GUEST SAXOPHONIST BY HIS SIDE. HIS GRITTY VOICE SPEAKS FROM EXPERIENCE AND A LIFETIME OF ABSORBING THE JAZZ IDIOM. THROUGH HIS NATURAL EASE THESE FAMILIAR PHRASES APPEAR WELL-WORN AND COMFORTABLE. LIKE THAT OLD PAIR OF JEANS OR THAT PAIR OF SHOES YOU JUST CAN'T THROW OUT, DANSO FITS THE JAZZ SCENELIKE A GLOVE; FINE AND MELLOW.
THE SESSION WORKS WELL WHEN DANSO MOVES AT A FAST PACE AND INSERTS SCAT SINGING INTO THE FORMULA. A TENOR SAXOPHONE SOLO HERE, A MELLOW BASS SOLO THERE, A STRONG PARTNER IN PIANIST JOE SEALY: THESE ELEMENTS CREATE GREAT ART. - L.A JAZZSCENE MAGAZINE

Hamilton Spectator - Hamilton Ontario ( excerpted )

Michael Danso just gets better.

He was the guest this weekend of the Hamilton Philharmonic's Pops series and pulled the crowd to its feet with a dynamite show called "From Harlem To Hollywood" that featured the songs of Harold Arlen and Cole Porter.

Putting a real jazz singer, as Danso most certainly is, with the biggest band of all - a full - fledged symphony orchestra - is is no easy task.

Jazz singers simply do not leave a song alone. They add decorative runs, scoop up and flatten down pitch, change the melody and even the words completely on a whim. That's tough to follow, particularly if one has spent one's life capturing what the great Composers put down on paper.

The first requisite for success is to have supportive, yet flexible arrangements and this Danso had in some superb Charts by Charles " Cousins " - yes, that's what the programme called him...When he stood for his richly- deserved applause, we found out it was none other than the same Charles Cozens who's been teaching, playing Jazz and arranging around here for years. You see how flexible he is? Proper chameleon. And Danso did his charts proud.

Danso is nothing if not a flexible performer himself. He can go from the bombast and flashing lights of a real production number such as " I"ve Got The World On A String " to the murmured intimacies of " Blues In The Night" in a few heartbeats and there's never a hint of falsness or forcing in his manner. This happened to really spectacular effect after he'd fashioned a wonderful "Stormy Weather" that contained some of the finest jazz singing I've ever heard in my life and immediately slammed us all back into our seats tearing through " Accentuate The Positive " without giving us time to catch our breath.

A particularly fine feature of the jazziest numbers was the blues-drenched trumpet playing of Dave Dunlop.

Danso's enormous stage presence, easy manner, sinuous movement and fine dramatic flair turn into an absolutely unbeatable combination of talents.
His phrasing and the huge range of colors in his voice already make him a formidable performer.

The H.P.O. was in fine form..The cellos, flute and cor anglais shone in a fine rendition of Rossini's " William Tell Overture "( Lone Ranger Theme ) and did adequately inBorodin's " Polovstian Dances " ( Stranger In Paradise ) as Brott proved Hollywood, despite having the likes of Arlen and Porter, stole some of its best tunes from the classics.

Hugh Fraser
- HAMILTON SPECTATOR

ROB ROY EDINBURGH FESTIVAL REVIEWS

Friday, August 25, 2006

My immediate impression after seeing this new musical by David Warrack was the power and quality of the singing both individually and collectively. With a dozen or so performers in the cast and most of them having their own solo, there was a consistently high standard throughout the performance.
The story of Rob Roy and his creation as a folk hero provides rich scope for musical theatre. Although not costumed in the clothes of the period, this Canadian company did convey the Scottishness of the action and the Scottish accents were convincing, perhaps too convincing at times. In terms of the acting scenes, David Dunbar’s portrayal of the Duke of Montrose did bring out his malevolent arrogance in a comedic way. As might be expected most of the songs were of the rousing type or love songs but there were a number of surprises… Michael Mackenzie Danso as the Bard sang ‘He’s a magician’ in a slick cabaret / broadway style.
Venue & Venue number Roxy Art House V115

Dates 21 to 26 August 2006

Times 17.00 to 18.30

Company Demarco Rocket Productions

Rob Roy

***


CLAIRE SMITH
ROCKET @ DEMARCO ROXY ART HOUSE (VENUE 115 )
THREE years ago, Canadian composer David Warrack visited Rob Roy McGregor's grave at Balquhidder and was overcome by the desire to write his story.
This musical is the result. It is the kind of production you hardly ever see these days on the Fringe, with a small orchestra and a large cast of professional singers.
Warrack's music is somewhere between light opera and a film score, and is full of emotional resonance. The cast dress simply in greys and blacks and sit watching the action, waiting to play their parts. There are some strong voices and fine performances,notably Michael MacKenzie Danso, although some of the cast struggle with the faux-Scottish dialogue.
The love story between the Scottish hero and his wife, Mary, is well done, but it is rather too similar to the Hollywood version of events to have anything new to say.


Rob Roy **** 4/5 RATING ( Three Weeks Review )

Rocket@Demarco Roxy Art House, 21 - 26 Aug, 5:00pm, (6.30pm), £8.00 (£6.00), fpp 140.
tw rating 4/5 [cd]

Demarco Rocket Productions
'Rob Roy' is a musical about eighteenth century Scottish history, performed by an all-Canadian cast. Not the most obvious of pairings, but in fact, this all-singing adventure of heroism, love and, you guessed it, Scotland, was actually pretty entertaining. It is based on the legend that is Rob Roy MacGregor, and although there are a few Braveheart-esque moments, it employs an effectively mature take on the genre of musicals and uses simple techniques to tell a genuinely moving tale. With a touching musical score, and a splash of Scottish dancing, some of the numbers even made an English girl like me feel the urge to stand up and pledge my allegiance to that blue and white flag.
C

ROB ROY REVIEWS -EDINBURGH FEST. (Cont'd)
One 4**** Review 2006-08-23
The Scotsman 2006-08-25
ThreeWeeks 2006-08-25

ROB ROY THE MUSICAL 26 Sep 2006
Reviewer: John MacGregor, London, England
THIS IS A SHOE FOR SCOTS FOLK WHO ARE PROUD OF HOME, COUNTRY, CULTURE AND ANCESTRY..My family credits Robert the Red for putting the twinkle in the eyes, as well as the stiff backbone into the Scottish people through his own personal example. Even though there were no costumes on the stage, this Cast was able to weave enough magic using only their talent to make us all in the audience believe that great kilts, Claeves ( swords), cattle campfires and castles were ever-present,and transported us to another time when our world was not such a kind place. The Dancing and singing was excellent. Michael Danso as the Bard was special...from speaking in the true Gaelic tongue as well as singing through the story of Rob Roy at the top of the show, to giving us a Ben Vereen type of performance in the "Magician" song.Among a cast of stars, he was my pick as the Star for this one. His Scots accent was brillliant, too.


- VARIOUS SCOTTISH SOURCES

The Oregonian - Portland Oregon U.S.A

SINGER - DANCER DANSO MESMERIZES CROWD

Imagine Johnny Mathis with a Scottish accent, combined with the dancing feet of Gene Kelly and the legs of Fred Astaire. Mix in generous portions of music and words by George and Ira Gershwin and Duke Ellington. Throw in a Symphony Orchestra for back up and you"ve got the picture.

It's Scottish Singer-Dancer Michael Danso appearing with the Oregon Symphony in a program called "White Tie and Tails"that opened Sunday and continues with 8p.m. performances Monday and Tuesday in the Arlene Schnitzer Concert Hall in Portland.

Danso is a formidable talent. He was spotted in his native Glasgow by Ella Fitzgerald when he was 10, and has been hailed as "The Complete Entertainer" over the years in Nightclubs, on Television, and in hit Musicals throughout the United States, Canada, where he now resides, and Asia, where he toured for three years.

In his opening Concert in Portland, the smooth-stepping Danso kept a near-capacity crowd mesmerized, notably during the second half of the Program with his soulful renditions of Ellington's "Caravan," "Mood Indigo" and particularly "Sophisticated Lady."

In contrast, and providing welcome variety for a one-man show, Danso offered jazz-treatment to"Take The A-train" and his programmed closer" It Don't Mean a Thing" which certainly had "that swing" as he and four screaming trumpets scatted together, 'doowa, doowa, digadoo.'

Danso's first half was more subdued, as he opened with Irving Berlin's"Top Hat White Tie And Tails" - Theme for the show. this was followed by a bouncy "Fascinating Rhythm," a militant"Strike Up The Band" and a whispering "Someone To Watch Over Me."

Conductor Norman Leyden, performing frequently on his liquid Clarinet, led the Orchestra of 60-plus musicians in more than 20 minutes of what seemed like pleasant padding opening the Concert - a medley of works about dancing and several numbers that were not on the printed program, such as a harp and strings arrangement of " I Didn't Know What Time It Was "and an Irving Berlin medley - before Danso entered the stage.

But Danso was the Show, and the highlight was an obviously planned Encore with the audience clicking their heels three times for a trip " Somewhere Over The Rainbow." - PHIL HUNT - The Oregonian Portland Oregon

Toronto Star - Toronto Ontario, Canada

BROTT AND DANSO TEAM UP FOR SLICK SUMMER POPS SHOW

" Good evening, ladies and gentlemen.Our show will be starting shortly," rang out the loudspeakers at the Ontario Place Forum Friday night. The "show" was a concert of Gershwin and Ellington performed by the Hamilton Philharmonic, with Guest Artist Michael Danso.

It was slick, like a Show with Danso offering scripted patter which informed those of us who might not have realized it that Ira and George Gershwin dealt, in their songs, with "Love, Power War and Peace," and that "Duke Ellington was a Genius - (because) - everything he touched turned to gold."

During an encore of "Over The Rainbow" ( actually composed by Harold Arlen ), Danso told us that we had given him " that most precious thing - helped me make my dreams come true."

Danso, who hails from Glasgow, Scotland but lives in Toronto, was clearly the centrepiece of the show. He offered a rich-voiced Baritone reminscent of an early Frank Sinatra, and complemented by a dancer's bodily ease and grace

His singing proved finely dictioned and abundantly lyrical, very much rooted in the smooth swing era jazz style . One might have appreciated some evidence of improvisation - some scat singing, some bent notes, some punched notes, whatever - but Danso is a Lustre-finish man from the word go.

Such chestnuts as "Strike Up The Band," "Fascinating Rhythm," "Satin Doll,"and " Mood Indigo" all prompted many pleasant pre-nuclear age memories.

Hamilton Philharmonic Music Director Boris Brott revealed himself to be a sympathetic podium accompanist. He was right with Danso all evening, supporting without intruding, while providing clear stick technique. His comments to the audience about the Program were good-humored and un-forced. an enthusiastic Forum audience accorded its acclaim to Danso, Brott and the Hamilton Orchestra without reservation. - PETER MOSE - TORONTO STAR

The Leader - Post Regina Saskatchewan, Canada

DANSO DELIGHTS CROWD

This Seagrams Pops Concert featuring singer Michael Danso offered a welcome opportunity to hear vintage songs by Harold Arlen and Cole Porter sung with a real touch of class.

A big part of the success of this performance came from the contribution of Conductor Vladimir Conta and the players, who slipped from their usual Classical vein into an unfamiliar style of music with great verve. The Brass section in particular played with a great sense of the Big-Band idiom.

Unless you can afford to travel to a Concert by the likes of Frank Sinatra, there are precious few singers of Great Popular Music appearing with large orchestras these days, let alone a full Symphony. Yet, in this age of the Rap fad and uninspiring formula Pop music, Danso has managed to carve himself a niche doing just that, captivating audiences of all ages with his dynamic interpretations and sumptuous arrangements.

Far from being just a re-incarnation of the countless big-band singers of the 1930's and '40s, Danso is an original, with striking interpretations and unusual vocal twists.

Born in Scotland, the Toronto-based Danso is a real pro, with a well-thought-out Program of more than 20 classics showcasing his rich, wide-ranging voice.

He doesn't just sing Standards like Arlen's " I've Got The World On A String," he lives and breathes them with a startling intensity. And in " Blues In The Night," he brought just the right touch of impish humour to play, showing that these are fun songs too. Also notable from Danso's first-half set of Arlen tunes was the brooding " Stormy Weather " and the bluesy " The Devil And The Deep Blue Sea."

The audience of around 1,400 really warmed to Danso's Cole Porter Segment after the interval, and in the Opening " Night and Day " and " I Get A Kick Out Of You " there were uncanny vocal echoes of the late great Nat King Cole in his smooth, sophisticated delivery. Best of all, though, was the slow and brooding " Love For Sale." It's story still shocking all these permissive decades later, Danso was mesmerizing in his powerful way with the song, with fine support from Conta and the Orchestra.

A fine medley of Porter classics - amusingly launched by a grinning, finger-wagging Conta after Danso gave him the wrong cue - featured a tender "Love-Letter Words" and exciting readings of " You'd Be So Nice To Come Home To " and " Just One Of Those Things."

"Begin The Beguine " and "Over The Rainbow capped this fine, toe-tapping trip down Danso's Memory Lane.

The Concert also featured the Orchestra in a jaunty selection from French Composer Jules Massenet's exotic " Le Cid Ballet. - ANDY COOPER


- Leader/Post Regina Saskatchewan

The Brantford Downtown Jazz Series as conceived by Drummer extraordinaire Frank di Filice is one of the best-kept secrets by Jazz Afficionados in Ontario and other points of interest in Canada.
I don't want to give you one of the usual “I want to Impress you” lists by naming many of the High-profile Artists that have appeared on this Bill, Lord knows they don't really need the promo, but let it suffice to say that this Series has also proven the fact that there is a lot of great Jazz Music being created and performed by innovative Canadian Artists who do not have the big contracts and record-label promo behind them pushing their product and bolstering their careers.
These “Independants” do it all on their own and pick their venues with self expression and creativity in mind - and not just ticket, t-shirt and C.D sales, though those things are important towards financing the next project..
The Series began its 7th year last September 2003 and audiences have grown exponentially as time goes by. On Monday, March 22nd, this discerning Jazz audience was treated to a rare gift: 2 hours of Jazz Vocalist Michael Danso at the top of his game in what proved to be an intimate setting at The Sanderson Center in Brantford Ontario. He was accompanied by Frank Di Filice on Drums, Bassist David Field, and Danso's Musical Director/Conductor and Orchestrator Charles Cozens on Piano.
The Trio began the evening with a deeply swinging version of Thad Jones' “A Child is Born”. They wove a tapestry of sound that proved to be not only highly entertaining but a technical tour-de-force as well. Di Filice, legendary for his ability to chop time up into tiny slivers of rhythm served on a chromatic block of seamlessly blending Bars of music was enabled by Bassist Dave Field's pulsing, constantly driving bottom notes on the acoustic Bass which accented and stretched the multi-varied rythms created by Di Filice. Cozens brought it all together by bringing what proved to be a prodigious technique as well as lyrical sensibility to the mix which was applauded frequently by the attentive audience. His left hand was just as creative and active as his right which brought a full, lush, almost orchestral sound that one does not often hear from a small Jazz ensemble. No left hand 'claw' here! Cozens' extensive training has obviously given him the freedom to freely express his inner feelings and emotional state of being around and about any piece of music with which he is involved. He does not use the overly-played technique of playing various sets of scales and safely landing on a note which may be part of the melodic line of the piece. His is true improvisational and experimental Jazz at its finest and he is, in my opinion an Artist to listen and pay attention to as well as a Talent To Watch
Danso came onstage to the sound of Cozens delicately playing the English Nursery Rhyme “ London Bridge Is Falling Down “. When he reached the microphone he turned to Cozens and asked in his deep Scottish Brogue “ Whit is THAT ye're playin' there Charles-lad ?. Ye're no expectin' ME tae start aff MY evenin' wi' a song aboot the English, are ye?. He then proceeded to sing the song with simple variations and immediately segued into a blistering version of “A Foggy Day in London Town” which included a scat section that was as good as, if not better in some ways, as anything ever done by anyone.
The material Danso chose to do this evening consisted of Jazz classics such as 'Our Love is Here to Stay,' 'Green Dolphin Street,' 'Lady is A Tramp,' 'Night and Day,' 'When Sunny Gets Blue'and many others. His vocal material was interspersed with stories of the beginnings of Jazz in New Orleans with mentions of legends such as King Oliver and Louis and Lil Armstrong. An A-capella rendition of 'Alexander's Rag-Time Band' which shot all who heard it back to another time zone was used to introduce a high-uptempo 'Sing You Sinners/That's A-Plenty medley that had the audience on the edge of its'collective seat because of the complexity involved in its' execution.
Like most people, I have seen Michael Danso performing on Large Concert stages, on Television, and heard his music played on the radio ( “Give Me That Jazz” C.D released June 27th 2003,last year on his Syrdan Label ). Much has been made of his vocal abilities for he posesses a deep, rich four-octave Baritone which stretches high into the Tenor range. This vocal instrument combined with an ability to completely immerse himself inside the lyrics and stories which make up his material sets him apart from the crowd. He should be seen and heard live, if possible, in order to reap the benefits of a full Danso experience.
His body of work is truly multidimensional, for example, Charles Cozens will conduct The Hamilton Philharmonic Orchestra for Michael Danso in the Symphonic Jazz Production 'Harlem To Hollywood' which is based on the music of Harold Arlen and Cole Porter this April 2nd 2004.
Danso's plan to take his Jazz Music to World Stages of all sizes and Forums is now taking shape. His vocabulary of sounds while scatting is extensive, and his ability to not only hold a note forever, but to be able to sing entire phrases and lines of a lyric without seeking air allows him to interprete material in a unique style that is his and his alone. The show this evening consisted of the traditional Jazz materials which were heard from Dansos' mentors Johnny Hartman, Mel Torme and Ella Fitzgerald, but in a few pieces such as 'Ain't Misbehavin' 'Georgia' and 'Love for Sale' there were strong indications of Kurt Elling, whom Danso admittedly and openly admires.
Danso's interpretation of 'Love For Sale' sung with piano accompaniment only, had an unusual approach : ( “SHE goes to work”...as opposed to the original “I go to work”...., etc ) It gives One pause and a new perspective on Creativity and Music.
This is what Kurt Elling is already known for and the listening Jazz audience is discovering about Michael Danso.
He took this audience up and out for a ride through the Jazz Universe and tried to set us down with a riveting rendition of 'There Will Never Be Another You' However, some of us just may never come down...or want to ...

M.T. / Assoc. Writer A.A.Jazz
Sanderson Center
Brantford Ontario
- All About Jazz Magazine

Danso and Cozens Bring 'Harlem' Home
This is the time when one has the opportunity to rest and think about the things one has done and experienced in their travels
When you think about going out to listen to a Jazz Show or Concert you usually get dressed in your favorite casual fare and envision yourself in a small smoky venue off the beaten track surrounded by similarly dressed-down patrons casually discussing this or that between songs while your waiter or waitress brings you your bill with every drink you order during the course of the night. This would be the case if the Artist were unknown to the general public, and this was the case for many years for Michael Danso when he was paying dues in in many such places all over the Capitols of the world until he decided to act upon his dream to take his music - Jazz - to the larger world-stages through his unique Symphonic Jazz Pops Programming.
Having met with success through his “White Tie and Tails” ( Gershwin and Ellington ), Symphonic Jazz show on Concert Stages throughout Canada and the United States, Danso took things “up a notch” when he commissioned Orchestral Arranger/Conductor Charles T.Cozens to write and arrange the music for his “Harlem To Hollywood” Symphonic Jazz Program which consists of the music of Harold Arlen and Cole Porter
“Harlem To Hollywood” first debuted at Hamilton Place in 1990 to Critical acclaim and also met with great success in both countries when Danso took it out on tour to many of the great Orchestras and Concert Halls on this side of the Ocean, and being the energetic and eclectic performer he is, he took time to do other projects, including The 'Threepenny Opera,' 'Riverdance', and produce a C.D called “Give Me That Jazz”. There was always the thought of Danso and Cozens performing Harlem To Hollywood together over the years, but it just wasn't possible due to schedule conflicts and the career demands of both parties.
Cozens is one of the most in-demand Orchestrator/Conductor-Arrangers in North America and has produced a staggering 40-plus CDs and has Arranged music and been Musical Director on and for such Award-winning shows as 'Swingstep,' 'Beauty and The Beast,' 'Joseph,'and 'The Magic Of Love' while working with high-caliber people like Eartha Kitt, Henry Mancini, Cab Calloway,and The Nylons while continuing a Concert career as Conductor for most of the major orchestras across Canada. Both men have been busy doing their individual thing, but they have managed to make the time to appear recently with The Canada Pops Orchestra in Toronto, and, in this latest incarnation, they somehow managed to Bring “Harlem” Home to the Orchestra and the Hall where it all began: The Hamilton Philharmonic Orchestra at The Great Hall in Hamilton Place.
I will not attempt to say here that which has already been said about Michael Danso, Charles T.Cozens and “Harlem to Hollywood” The music and songs of Harold Arlen and Cole Porter were more than beautifully presented and performed by Danso His ability to put his individual stamp on a piece of music and completely mesmerize an entire audience by immersing them in moments of lyrical truth remains strong and vibrant. This is not a poor man's Frank Sinatra or a Johnny Hartman clone, nor is he a Fred Astaire imitator.
He is, simply, an original, something seldom seen on todays stages, but welcomed with open arms by every audience before whom he appears.
Conductor Charles T. Cozens led the Hamilton Philharmonic Orchestra through a musically challenging program with Virtuosity, clear sight, sensitivity and strength. The orchestra responded to his strong lead with alacrity, and some of the best playing we have heard to date. The orchestrations written by Charles T.Cozens wove a chromatic tapestry of sound in, around and throughout the narration of the lives and music of Harold Arlen and Cole Porter as presented by Danso
Evergreens like 'My Shining Hour'and 'I've Got The World On A String' ( from “The Cotton Club Parade of 1932, according to Danso ), kept the toes tapping while a Blues-drenched Trumpet solo by The Hamilton Philharmonic Orchestras' Principle Trumpet Mary Jay, catapulted us straight to Harlem's soulfully sensual heart
Cozens used Wolfgang Amadaus' 'Eine Kleine NachtMuzik' as a humorous introduction to a Harold Arlen Medley that contained such material as 'That Old Black Magic';The Devil and the Deep Blue Sea'; and others A tour-de-force 'Stormy Weather' almost stopped the show with its intensity. The interplay between Danso and Cozens makes for a most delightful concert nexperience and the members of the Orchestra were obviously happy to be there as well.
Cole Porter was no less well represented by Cozens and Danso
Dressed in a white ensemble from head to toe that caused the audience, and yours truly, to audibly gasp in appreciation, Danso entered to the haunting exotic sounds of tabla drums, flutes and fluttering horns playing the opening bars to Cole Porter's 'Night and Day' then proceeded to take us through an emotional roller coaster utilizing material such as 'I Get a Kick Out of You';'What is This Thing Called Love'; 'You Do Something To Me'; 'True Love”You'd be So Nice To Come Home To'; “Just One Of Those Things' and others to make his point that “ Cole Porter was one of the most sophisticated and well-travelled men of his day who could play you a picture for your mind with his music” The highlight of the evening was a rendition of Porter's 'Love For Sale that Cozens arranged for strings and voice only, that literally blew the roof off the Great Hall when its'conclusion was reached.
A narration delivered by Danso in a'Film Noire' style which incorporated the use of an objective rather than the usual subjective view of the lyric written by Porter brought a very new freshness to the material which was appreciated by all who were already familiar with the piece. This segued poignantly into Porter's 'Begin The Beguine' and the audience rose to it's feet and applauded roundly. Danso and Cozens took their bows and exited, but returned at the audiences'insistance to do an impromptu encore, with Cozens this time at the piano, to play Harold Arlen's 'Anyplace I Hang My Hat is Home'. Conductor Cozens and Danso were into the beginning of the piece and acquitting themselves admirably when Concertmaster Lance Elbeck exploded in a flurry of glissando notes that augmented the piece and added a new color as well. He not only took Danso and Cozens by surprise, but the Audience and the Orchestra as well. He was invited to center-stage and joined Danso in a musical experience that can only be described as Magical- this was the Jazz Experience at its best - technically sound, joyous, improvisational and wholly spontaneous.
When Danso, in his warm Glaswegian Scottish Brogue told Concertmaster Elbeck that “ I didnae know that a lad so classicly trained could swing like THAT,” Elbeck replied “Well, Michael, I have always wanted to, and tonight seemed like it was just the right time” and...it was. The audience rose as one to it's feet and so did the Orchestra
Harlem had just made it's presence felt because, you see, Michael Danso and Charles T. Cozens had Brought “Harlem” Home.


Tyler Ford, Manhattan, NYC
Visit website

- All About Jazz

BEACH METRO NEWS
ARTICLE/ CD REVIEW By Bill MacLean
Headline:
DANSO does HARLEM TO HOLLYWOOD

Beacher Michael Danso is a wonderfully complete entertainer. If you don’t believe me ask Ella Fitzgerald (if you could). She saw him perform in his native Scotland when he was just 10 years old, and wanted to bring him with her to the United States. Who knows whether he would have become one of those precocious child stars burnt out at 20, but his grandmother kept him at home. His obvious talent was not to be denied however and soon Michael was performing in Great Britain and Europe. He came to Canada at the age of 19 performing in those iconic 60’s musicals HAIR and JESUS CHRIST SUPERSTAR. After spending a couple of years in Los Angeles, Danso eventually decided to settle in Toronto.

Some of his credits include stage work in THE THREEPENNY OPERA, THE BOYFRIEND, and THE MIKADO; film acting in SUGAR SHACK and WINNING STREAK; and television appearances with SHARON, LOUIS AND BRAM; and hosting his own show JUST JAZZ on CHCHTV. Most recently Danso toured with the latest production of RIVERDANCE in which he both danced and sang.

As well as all the live appearances, Danso has found the time to record. His latest CD called GIVE ME THAT JAZZ is a collection of Jazz Standards by such time-honored composers as Mel Torme, The Gershwins, Harold Arlen and Ray Noble. Backed by long time friend Joe Sealy on piano, Danso croons his way beautifully through such songs as ‘STOMPIN’ AT THE SAVOY’ ‘SOMEONE TO WATCH OVER ME’ and an interesting medley of ‘FASCINATING RHYTHM’ and ‘I’VE GOT RHYTHM.’ The bare-bones standard Piano (Sealy) Bass (Paul Novotny) and Drum (Daniel Barnes) accompaniments – padded every now and then with Sax solos by (Chris Mitchell) – help recreate a live club feel to the CD (minus of course the background clinking of glasses you often hear).

A couple of interesting tunes which step out of the “standards” category are ‘SCARBOROUGH FAIR’, that traditional ballad which, under Michael and Joe’s hand, is turned into a driving rhythmic jazz showpiece with a soaring sax solo over which Danso’s vocals softly carry the melody in perfect juxtaposition.

‘YOKOHAMA TASSONGARE’ is a traditional Japanese ‘ENKA’ song, which Danso learned from a friend of his, Sen Masao, whom Danso described as the Sinatra of Japan. Danso sings it in the original Japanese, but he was kind enough to drop off a translation. The lyrics are written in Haiku style; short, distinct images: “ a kiss; floating in the air/ The smell of tobacco smoke/ Blues; blown kisses/ The sound of a woman crying.” It’s a beautiful tune.
And now that the recording is out of the way Michael can concentrate on his Symphonic Concert performances. It’s called HARLEM TO HOLLYWOOD and it was written by Danso and first performed in 1990. HARLEM TO HOLLYWOOD is a unique musical production featuring orchestral arrangements – by Charles Cozens - of music by Harold Arlen and the great Cole Porter. Some of the tunes include ‘I’VE GOT THE WORLD ON A STRING’, ‘THAT OLD BLACK MAGIC’, and ‘STORMY WEATHER’ by Arlen; and ‘NIGHT AND DAY’, ‘I GET A KICK OUT OF YOU’, and ‘YOU DO SOMETHING TO ME’ by Porter.

Since 1990 HARLEM TO HOLLYWOOD has been performed across Canada as well as in selected U.S cities. Danso uses this concert production to fundraise for The Variety Club charity.

Two performances of HARLEM TO HOLLYWOOD are upcoming in the GTA. The first will be at the George Weston Hall at The Centre for Performing Arts, Feb. 21st, when Michael will be performing with The Canada Pops Orchestra under the direction of Charles T. Cozens. The second will take place April 2nd in THE great Hall in Hamilton Place with The Hamilton Philharmonic Orchestra, again under the direction of Charles T. Cozens.

For more information on these events, or to order a copy of GIVE ME THAT JAZZ, visit Michael Danso’s website at www.michaeldanso.com

- Beach Metro News

CADENCE JAZZ MAGAZINE, New York

IMAGINE A SINGER HALFWAY BETWEEN BOBBY SHORT AND JON HENDRICKS. THAT'S MICHAEL DANSO. HE PERFORMS MOST OF THE C.D "GIVE ME THAT JAZZ" IN THE WARM, FRIENDLY TONES OF A CABARET SINGER, BUT HE STRETCHES OUT INTO JAZZ. THE LIKES OF "OUR LOVE IS HERE TO STAY" AND "SOMEONE TO WATCH OVER ME" ARE DONE STRAIGHT BUT "BLUES IN THE NIGHT" BRINGS OUT A BIT OF SOUL AND ON "STOMPIN' AT THE SAVOY" DANSO BREAKS INTO AN EXPLOSIVE SCAT SOLO.
REGARDLESS OF THE MOOD DANSO'S BACKING GROUP KEEPS THE RYTHMN STRONG, ESPECIALLY THE EASY-RIDING PIANIST JOE SEALY. HE AND THE ENTIRE COMBO GIVE DANSO GOOD BACKDROPS TO WORK AGAINST.

- CADENCE JAZZ MAGAZINE, New York