Jazz is no stranger to the stage at 54 Below but the hard-edged, hardcore jazz that was presented by singer Lauren Scales, saxophonist Mike Flanagan, and pianist Chris Grasso was not the usual bill of fare, so there was a special excitement in the room as the trio, aided in no small way by bassist Luques Curtis and drummer Richie Barshay, blazed through a remarkably diverse and satisfying selection of songs from the worlds of pop, standards, jazz, and reggae. It was all in celebration of their new album, Many Rivers. Each of the trio chose three songs, and then they arranged them, and the results made it readily apparent that here was a partnership meant to last.
L. to r. Mike Flanagan, Lauren Scales, Chris Grasso (Photo: B. Pace)
This was a trio in the truest sense of the word, with each artist claiming their deserved share of the spotlight and each providing stellar support and counterpoint for the others. Diving into the deep end right away, they chose “(You Know Who) I Mean You” (Thelonius Monk, Coleman Hawkins, Jon Hendricks) with a dizzying Hendricks vocalise. The groove and the sound were fantastic, but Scales kept the microphone so glued to her mouth that her lips and her mouth were pretty much invisible, making it very difficult to decipher the complex, unfamiliar words set to the searing Hawkins solo. This problem occurred a few other times and could easily have been avoided if someone had been sitting in the house at soundcheck. 54 Below has a very high stage which only exacerbates the problem which is, sadly, a common one at the club.
Cementing an opening one-two punch was a D’Angelo song, speaking of unexpected choices. “Spanish Joint” (Michael Archer D’Angelo, Roy. A. Hargrove) began with the hypnotic thrum of the bass paired with the wail of the saxophone, building to Scales’ powerful vocal riding the pulsing layers of piano and drums. The quintet became one, cohesive, mesmerizing voice. Next came the first of the singer’s two originals, “Find a Way,” which lowered the temperature in the room as the audience surrendered to the passionately romantic delivery, intensified by a captivating bass solo. “Star Eyes’ (Gene De Paul, Don Raye) is a favorite of many a jazz vocalist, but I have rarely heard it done with the raucous, just-this-side-of-frenzied intensity that the group achieved. I was ready to hear it again right away!
On “But Beautiful” (Jimmy Van Heusen, Johnny Burke), the singer’s restrained, deeply personal attack on the lyrics rose to flights of musical fantasy, borne by the sexy, sensual cloud of sound provided by Flanagan and Grasso, proving once again that this was definitely a trio show. In tribute to the classic recording by Nancy Wilson and Cannonball Adderley, Scales and Flanagan led the band into “Never Will I Marry” (Frank Loesser), showcasing what an impressive vocalist Scales can be, reveling in her unique blend of control and abandon in equal measure. In an evening of memorable songs and performances this was near the top. Chris Grasso brought Jimmy Cliff to the party with “Many Rivers to Cross” and it was an inspired choice gorgeously arranged and movingly played and sung. The power of the vocal built and built as Scales took the audience to church with the finale of the piece and there was nowhere they would rather have been.
Grasso’s most daring contribution to the repertoire came from Neil Diamond of all people–and as an aside, anyone who knows me will know that it is no small feat to get me to listen to, much less love, a song by this inexplicably popular songwriter. Whether it was the pianist’s gorgeous arrangement, or the exquisite sound of his piano meshed with the beauty of the other musicians, or the singer’s hushed evocation of the poetry of the lyrics, I was knocked out by it. For me, it was the other highlight of the evening. This performance even allowed me to overlook one of the most egregiously painful internal rhymes ever written—“…songs he sang to me, songs he brang to me…”.
The closer was the other song written by Scales, “Saving Grace” with a message and beauty that seemed especially healing in 2025. Lauren Scales, Mike Flanagan, and Chris Grasso presented the audience at 54 Below with jazz manna from heaven. It was our good fortune to bask in their artistry for an hour or so on a September night. Those not fortunate enough to be there can take comfort in the release of their remarkable new album.
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Presented at 54 Below, 254 W. 54th St., NYC, September 11, 2025.
Gerry Geddes, critic for BistroAwards.com, is an award-winning director, writer, teacher, performer, lyricist, and a contributor to the podcast Troubadours and Raconteurs. He conceived and directed the acclaimed musical revues Monday in the Dark with George (Bistro and MAC Award winner), Put on Your Saturday Suit—Words & Music by Jimmy Webb, and Gerry Geddes & Company (in its five-year residency at Pangea). He has directed singers André De Shields, Darius de Haas, Helen Baldassare, and Lisa Viggiano. He has been active in the cabaret world for over five decades and has produced numerous CDs; his lyrics have been performed and recorded here and in Europe. Gerry’s workshop, The Art of Vocal Performance, is regularly offered to singers of all levels. His memoir of life in NYC, Didn’t I Ever Tell You This?, was recently published and is available at barnesandnoble.com. He is currently at work on his first novel.
