Buy Call Me Old Fashioned here (Amazon GB)
My parents instilled in me two very important lessons which have never steered me wrong. From my Dad it was that a well fitted suit with nice shirt and tie will never go out of style. From my Mum it was that songs from the musicals will transcend trends, defy fleeting pop chart fads and endure long beyond the latest novelty single. These important elements of my youthful education are perfectly embodied by Broadway star and gifted raconteur, Max von Essen, on his charming new album Call Me Old Fashioned (The Broadway Standard). Across 13 compelling performances, he guides you through some of musical theatre's finest moments with a charm and sophistication which is hard to resist. Even in the more laid back moments, where you can picture him popping his collar button, loosening his silk tie and rolling up his sleeves, he exudes a grace and elegance which most of us only aspire to. With sumptuous accompaniments from talented musicians, this is one album which proves being called old fashioned is the highest compliment one can receive.
The album opens by blending the playful Peter Allen romp (also featured in The Boy From Oz) Everything Old Is New Again with the charming Mercer and Kern song I'm Old Fashioned. With a piano arrangement which dances like sunshine on the water alongside Max's enticing vocal, it not only sets the standard for what is to follow but succeeds in shutting off the noise of the world and immerses the listener into a dazzling West End spectacular. Mr Von Essen offers up a truly timeless vocal and each second of his singing feels imbued with how honoured he is to be singing (and how much he loves) these songs. The symbiotic partnership between voice and piano continues on I Can't Give You Anything But Love (Baby). Here, the shuffling percussion crafts a finger click groove whilst Max is a most able narrator of these evergreen words. If you suddenly conjure up images of a smoky speak easy where Adelaide Hall giving her stamp of approval to this new interpretation you won't be alone. It is both vivid and vivacious. Fly Me To The Moon, with its sterling a cappella introductory bars and lovely, languorous tempo, continues to captivate the listener. It is saturated with aching yearning and the tangible pulse of romance, all permeating Max's nuanced vocal delivery. He makes the impossible of the titular request seem entirely possible, a celebration of what love can accomplish. This reverence to the greatest emotion of all is further evidenced on the euphoric Can't Take My Eyes Off You. He lingers on every well-known word, knowing how to bend each note to his will with nary a melisma in sight. He also knows when to step back and let the band take the spotlight. It is nothing short of a joyous musical moment that lingers long after the song has finished.
On This Night Of A Thousand Stars feels like a good time to note that Max is not afraid to break down these songs to their architectural blueprint then recreate them to mirror his own personal connection to the words. He takes the mariachi inspired tango and turns it into a soulful reflection of memories he wants to hold onto for eternity. The strings add an aura of regal stateliness to his musings, accentuating the lilting melody. There's a self-knowing wit to placing the My Fair Lady song Show Me directly after this Evita number. "Don't talk of stars burning above" he sings in the opening line - and you can almost see the wink to the audience. It feels like a call and response to his own declarations. This is a giddy treat though - the impatient anticipation of his singing, the teasing nature of the instrumental and a key change heightening the desire all coalesce to make this an out and out winner. Equally as triumphant is the ballsy She Loves Me. I happen to think the musical this title track is taken from happens to be a sorely underrated gem. In just a little over two minutes, Max sings through a maelstrom of sentiment, magically representing that moment when you just cannot keep your elation inside of you. This is what we all sound like in our heads when reality is giving us the dopamine rush of romance. If this all makes you want to Shimmy Like They Do In Paree, well I say get your dancing shoes on. The song is performed with the radiance of a summer day with Max transporting you to chic cafes and quaint boulangeries with just the vivid brushstrokes of his descriptive tones. Max may have made an excellent Corrado (Death Takes A Holiday) in his day but he is chameleon enough to be a delightful Alice inviting Sirki to dance alongside her. He's also an excellent Judy Garland when he merges The Trolley Song with Gotta Have Me Go With You. I can't tell you how important it would have been to the theatre geek gay kid I was years ago to have someone like Max sing of his flirtations with another guy. We've come a long way since then but it still makes my heart glad that love in all its forms is increasingly part of the rich tapestry of music I adore. PS, this medley of songs is also pretty darn tooting stupendous.
They Say It's Wonderful is Irving Berlin reminding us that the world of movies and song and musicals sets certain expectations of what love is like. It is something we all crave. Max makes this Frank Sinatra standard completely his own by ensuring this feels like an intimate conversation between two friends sharing their most personal desires. The music wraps round him like a comforting, encouraging hug and you can't help but feel that when people talk about this performance in years to come they'll say it's wonderful. Props once again for the order of the tracklisting because, once again, Almost Like Being In Love feels like the natural and spiritual successor to its predecessor. Having sung about the magic of love, it makes sense that you'd question whether you were lucky enough to have the spell strike you so directly. There's no doubt about it though - at around 2 minutes and 15 seconds into the song, when Max's voice climbs the register, it is spine tingling goodness that will have you swooning hard. Also giving me the vapours is his decadent and delectable An American In Paris Medley. This whistle stop tour through the musical's greatest hits never feels rushed; rather he takes you by the hand and leaves you reassured that you really cannot ask for anything more than this. Yet there is one final An American In Paris gift to be gleaned from the album. He closes by taking you up the Stairway To Paradise. This closing number really is the glory of Gershwin and Mr Von Essen leaves you with a high kick in your step and a big ol' happy coursing through every fibre of your being. It is an adrenaline rush as potent as any rollercoaster and, much like those thrill rides, leaves you breathless and giddy for more. Bravo Max Von Essen. This whole album is a new Broadway standard.
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