I have a frame of reference. I've seen Pink Martini a dozen times over the past ten years and I have never seen them better than they were at The Schnitz on Tuesday, May 15.
Period.
As I wrote in my livepdx article Thomas had a difficult time with "Hang On Little Tomato." Everybody knew something was not going well, but the band has such good will that we put up with the years of delays and looked forward to their second album.
Why they couldn' t have just put out a concert album in the meantime escapes me. When "Tomato" was released, we all said nice things about it, but many of us hid our disappointment. Count me in on that. I did an Art Beat TV piece on China Forbes around the release, and in it I avoided that disappointment.
Come to find out Thomas was just as dissapointed.
That's why it was such a relief to find "Hey Eugene!" to be so bright and full of happiness, even in the sad songs. That vibe carried over to the concert at the Schnitz. China was in great voice, Thomas was lively and gay (I'm sorry. I couldn't help it. I meant it in the old fashioned way.) He's one of the few people who is gay and gay.
The first half of the concert was made up of tunes from "Eugene," done perfectly, not as note for note replicas but almost. My favorite from the album was my favorite in the show, "Cance e Dance," a gorgeous Brazilian-styleded tune by their bassist Phil Baker. The tempo was slightly faster in concert. The David Yorke Ensemble was on stage to help and Phil played rhythm guitar. I could have gone home after it was over and been completely satisfied.
After the concert, at the afterparty in Bluehour, I told Phil I thought it was one of the most beautiful tunes I had ever heard. I thought he was going to cry. I meant it.
After the intermission, Thomas introduced March Fourth Marching band saying he wanted to run away and join them. They played four tunes by themselves, complete with dancers, stilt and otherwise. No fire dancers allowed in The Schnitz, however.
They began with "Space Hole" their signature tune, accompanied by a hula-hoop dancer of great dexterity, ingenouity, grace and humor.
They stayed on stage for "Das Vedanya Mio Bambino," Pink Martini's language mashup which ends with the chorus of "The Happy Wanderer."
The band played older tunes which did not sound dated or shopworn, but rather familiar and sweet. It is always fun to see percussionist Brian Davis workout on the traps for the band's swring tune. Their encore was (take a wild guess) "Brazil," which was accompanied by all of the guest artists. Thomas told me one time that he could play "Brazil" until the day he dies.
We don't mind.
When we walked up the stairs to the afterparty at Bluehour, China was at her most slink-ely lucious sitting outside the door and holding court. I was very gratified when she thanked me for the Art Beat piece I had done on her. She said he had always thought about calling but never did. Well, um…I appreciate it, no matter when it comes.
Inside was a madhouse. Somehow we found a couple of seats next to OBT's Christopher Stowell's table. Chatted with Northwest Film Center's Bill Foster, hugged Thomas and got drinks.
It was full of the beautiful people, hair done perfectly and dressed in Pearl Chic. All of a sudden, in walked the members of March Fourth, still in their band unis and making Bluehour seem more like Portland.
Bassist/singer Belinda Underwood slinked in looking lovely and hanging with pianist Benny Green. I told him how unusual it was to have two former Betty Carter pianists in the same town. Darrell Grant is the other.
A couple of small but tasty martinis later, it was time to go.
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