photo by Bruce-Michael Gelbert
Guitarist sean Harkness & singer Terese Genecco
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At the Community House, under the auspices of the Arts Project of Cherry Grove, MAC (Metropolitan Association of Cabarets and Clubs) and OUT Award-winning singer Terese Genecco, of the dark, polished voice, and equally virtuoso guitarist Sean Harkness, on baritone guitar, offered their very personal take on songs from Elvis Presley’s first record album, as they reworked, rescored, and re-imagined them, in their show “Elvis ’56,” on June 16. Genecco interspersed the songs with copious Elvis biographical information, and Matt Baney and Alison Brackman were responsible for sound and lights.
“Blue Suede Shoes,” by Carl Perkins, served as Genecco’s quiet, contemplative opening, with Harkness giving us some almost Spanish-sounding guitar figures. “I’m Counting on You,” which Presley dedicated to his mother, to whom he was very devoted, was sung with great sincerity and, with an introspective guitar solo, proved most moving.
Young Elvis’ attraction to African-American gospel music was apparent in his recording of Ray Charles’ love song “I Got a Woman,” and inspired Genecco and Harkness’ hot performance of the song. “One-Sided Love Affair,” which began as a touching probe of unrequited love, became Genecco and Harkness’ increasingly persuasive argument in favor, rather, of reciprocal feeling. Genecco employed her most legit alto for “I Love You Because,” a romantic country waltz that morphed into a rock ballad, and paired it with “Just Because,” a song of reproach for, again, a love not reciprocated, which, in the singer’s up-tempo, indeed toe-tapping rendition, with the guitarist’s fast and furious interlude, literally stopped the show—and how the performers worked those nonsense syllables in their sensuous “Tutti Frutti”—also recorded by Little Richard—which came next!
Genecco’s “Trying to Get to You,” a restless love song, was sung silkily and quietly, while “I’m Gonna Sit Right Down and Cry (over you)” sizzled, thanks to singer and instrumentalist. The musicians made a case for “I’ll Never let You Go (little darlin’)” as an Italian serenade, sung, as “Non la lasserò, mio bambino,” in Genecco’s own translation, with Harkness transforming his guitar into a virtual mandolin. They reinterpreted Rodgers and Hart’s “Blue Moon” as a “tone poem,” Genecco said, with her singing in legit voice—with a high note at the end—while he went his own creative way on guitar, rather than providing literal accompaniment.
“Money Honey,” reflecting Elvis’ rags to sudden riches story, came off as breezy, while “Heartbreak Hotel,” a blues number of betrayal and rejection, was contrastingly dramatic. Harkness’ bravura solo account of “I Want You, I Need You, I Love You” belied the painful nail break he sustained just before the performance. The duo closed with “Viva Las Vegas,” Genecco’s favorite Elvis song, though not from that 1956 album, complete with ringing high note at the end and spontaneous audience sing-along of the titular refrain.
Catch Genecco and Harkness in shows at the Iridium Jazz Club, in Manhattan, and at other venues.