Sachal Vasandani and David Wong © Andera Canter

A native of Chicago, Vasandani grew up surrounded by everything from Ellington to Jarrett, from Michael Jackson and the Beatles to Indian classical music. In high school he turned toward vocal jazz, and was active in his school band and choir. With degrees in economics, jazz and classical music from the University of Michigan, DownBeat’s 1999 “Collegiate Jazz Vocalist of the Year” first worked on Wall Street before turning to music fulltime. A semi-finalist in the 2004 Thelonious Monk International Competition, Vasandani has pulled together a tight quartet with pianist Jeb Patton, bassist David Wong and drummer Quincy Davis. Already a veteran of major clubs on both coasts, the quartet is currently touring in support of Vasandani’s Mack Avenue debut, Eyes Wide Open.

Vasandani is the total package—good looks, polished stage presence, easy rapport with the audience, and just enough swagger to exude confidence well short of arrogance. No doubt he is a marketing agent’s dream. But it isn’t just the wrapping—vocally Vasandani delivers, be it ballad (“You Won’t Forget Me”) or blues (“Strange Things Happening), original (”Storybook Fiction”) or classic (“Anything Goes”). And while his style is as sophisticated and erudite as a veteran jazzman, his warm baritone and respect for the lyric create immediate accessibility and intimacy—a combination that should pull in fans of Harry Connick and even Norah Jones as quickly as fans of Kurt Elling or Shirley Horn. The charisma may spell pop, but the music sells jazz.

Sachal Vasandani Quartet © Andrea Canter

“September in the Rain” also took on new life, starting out as a bass/voice duet, evolving as Vasandani used extra syllables to simulate the effect of scatting without losing the lyric. And Cole Porter’s workhorse, “Anything Goes,” was anything but ordinary as the vocalist used a staggering rhythm that maintained the swing while creating new energy. “Nancy With the Laughing Face” was an exquisite duet for voice and bass that featured the melodic dexterity of David Wong and Vasandani’s elastic shaping of every line. The vocalist also proved to be adept at the blues, taking Percy Mayfield’s “Strange Things Happening” with a confident bounce that evoked Bobby Darrin and even James Taylor, while Jeb Patton’s ferocious right hand took charge before joining the left in a sequence of unison chord progressions. With Quincy Davis beating out the groove with his stick on the hi-hat stand, David Wong knocked out another high-spirited solo.

Among the singer’s own compositions, “Please Mr. Ogilvy” was a most interesting work featuring a monotonal theme set off by a more melodically complex bass solo and a series of descending clusters from Patton. Here Vasandani made a few notes and tight intervals sound like a full choir, suddenly dipping to an isolated bass note in closing. “Storybook Fiction” was one of few tunes repeated across sets, a song about the hurried life of New York City, reflected in a bouncy beat carried most effectively by Wong’s basslines.

Many of the evening’s tunes appear on Eyes Wide Open, which I had to order later since Vasandani sold out the copies he brought to Minneapolis on the first night. I intended to thank him for providing such an engaging evening of music, but he was surrounded by well-wishers and autograph-seekers. And it’s not a bad thing to see a rising jazz artist receiving rock-star attention or eliciting pop media accolades. It worked for Diana Krall and it seems to be working for Sachal Vasandani. His trajectory deserves serious watching—and listening.

For itinerary and further information, visit www.sachalvasandani.com

Ears Wide Open for Saschal Vasandani

Contributed by Andrea Canter, Contributing Editor

The Minneapolis Star Tribune suggested he was the male counterpart of Norah Jones. Recent reviews of his CD, Eyes Wide Open, referred to his pop appeal. I was not expecting 29-year-old Sachal Vasandani to bring Kurt Elling-ish elasticity to his phrasing or Curtis Stigers’ “common man” charm to some of the less traversed standards of the canon or to his own songs. Vansandani brought these elements and more to the stage of the Dakota Jazz Club in downtown Minneapolis last night, delighting a full house through two sets while basking in the support of one of the swingingest trios to play here in the past year or two.

A native of Chicago, Vasandani grew up surrounded by everything from Ellington to Jarrett, from Michael Jackson and the Beatles to Indian classical music. In high school he turned toward vocal jazz, and was active in his school band and choir. With degrees in economics, jazz and classical music from the University of Michigan, DownBeat’s 1999 “Collegiate Jazz Vocalist of the Year” first worked on Wall Street before turning to music fulltime. A semi-finalist in the 2004 Thelonious Monk International Competition, Vasandani has pulled together a tight quartet with pianist Jeb Patton, bassist David Wong and drummer Quincy Davis. Already a veteran of major clubs on both coasts, the quartet is currently touring in support of Vasandani’s Mack Avenue debut, Eyes Wide Open.

Vasandani is the total package—good looks, polished stage presence, easy rapport with the audience, and just enough swagger to exude confidence well short of arrogance. No doubt he is a marketing agent’s dream. But it isn’t just the wrapping—vocally Vasandani delivers, be it ballad (“You Won’t Forget Me”) or blues (“Strange Things Happening), original (”Storybook Fiction”) or classic (“Anything Goes”). And while his style is as sophisticated and erudite as a veteran jazzman, his warm baritone and respect for the lyric create immediate accessibility and intimacy—a combination that should pull in fans of Harry Connick and even Norah Jones as quickly as fans of Kurt Elling or Shirley Horn. The charisma may spell pop, but the music sells jazz.

The set list in general was full of surprises for a young singer surrounded by hype. Over the two sets last night, he covered two tunes from Shirley Horn: “I Should Have Told You” featured a harmonically rich solo from Jeb Patton and a vibrating pitch from the vocalist worthy of Ellling. “You Won’t Forget Me” was taken at a very slow tempo, key vowels elongated like taffy. Billy Strayhorn is a frequent source for American singers but “A Flower Is a Lovesome Thing” is less common, which is unfortunate as it is one of his most lovely melodies. Vasandani included it in the first set playlist and then as the encore to the last set in response to audience request. Arranged by Patton, who is a keyboard monster as well as clever arranger, bass and drums kept this one swinging while Vasandani gave the lyrics fresh passion through his effortless phrasing. Also sung infrequently, Rogers and Hart’s “Thou Swell” was given uptempo treatment and shifting rhythms, exaggerated by Quincy Davis’ solo filled with sudden changes in tempo. As was the case throughout the evening, the quartet exhibited telepathic timing.

“September in the Rain” also took on new life, starting out as a bass/voice duet, evolving as Vasandani used extra syllables to simulate the effect of scatting without losing the lyric. And Cole Porter’s workhorse, “Anything Goes,” was anything but ordinary as the vocalist used a staggering rhythm that maintained the swing while creating new energy. “Nancy With the Laughing Face” was an exquisite duet for voice and bass that featured the melodic dexterity of David Wong and Vasandani’s elastic shaping of every line. The vocalist also proved to be adept at the blues, taking Percy Mayfield’s “Strange Things Happening” with a confident bounce that evoked Bobby Darrin and even James Taylor, while Jeb Patton’s ferocious right hand took charge before joining the left in a sequence of unison chord progressions. With Quincy Davis beating out the groove with his stick on the hi-hat stand, David Wong knocked out another high-spirited solo.

Among the singer’s own compositions, “Please Mr. Ogilvy” was a most interesting work featuring a monotonal theme set off by a more melodically complex bass solo and a series of descending clusters from Patton. Here Vasandani made a few notes and tight intervals sound like a full choir, suddenly dipping to an isolated bass note in closing. “Storybook Fiction” was one of few tunes repeated across sets, a song about the hurried life of New York City, reflected in a bouncy beat carried most effectively by Wong’s basslines.

Many of the evening’s tunes appear on Eyes Wide Open, which I had to order later since Vasandani sold out the copies he brought to Minneapolis on the first night. I intended to thank him for providing such an engaging evening of music, but he was surrounded by well-wishers and autograph-seekers. And it’s not a bad thing to see a rising jazz artist receiving rock-star attention or eliciting pop media accolades. It worked for Diana Krall and it seems to be working for Sachal Vasandani. His trajectory deserves serious watching—and listening.

For itinerary and further information, visit www.sachalvasandani.com