It was the perfect match, that snazzy little theater one turn and 25 steps from the main intersection in Cazenovia and the band leader from New York City who grew up in Fenner's farm land just four miles up the road.
Oh, Paul Carlon had heard about Jazz-N-Caz during the dozen years Colleen Prosner had quite wonderfully brought major jazz artists to the Catherine Cummings Theatre in his beloved hometown of Madison County, but it took until edition No. 13, on Friday night, for him to make his first appearance. And it topped a big night for lovers of great jazz with Central New York roots, as Carlon's hip project La Rumba Is a Lovesome Thing followed a set that featured vocalists Marissa Mulder and Karen Oberlin, both Syracusans who now live in the Big Apple themselves.
Carlon was a man in his element.
With his mom and many friends from his youth in the comfortable seats, he pointed out how this very theater was where he used to see movies when he was growing up. He also pointed out how he was quite sure it was the location where he got drunk for the very first time in his life. Now a man who's nearly reached 50, you could tell he's quite comfortable telling stories like that, about he and friends sneaking out the side door of a little hometown theater for an illicit beverage. And about how certain other warming memories returned to him as he was driving around with his band members that very afternoon, such as how he and his family actually had a party phone line when he was growing up. He said the reaction of band mate Ben Lapidus was: "Just like in Cuba!" Meanwhile Cuban-American vocalist Venissa Santi stood listening to his story silently mouthing to the crowd "What's a party line?"
Carlon was serious, too, about how when he was growing up, other than his school music instructor Joe Procopio, the only big name he actually heard of moving through his hometown was Natalie Cole, who studied when it was called Cazenovia College. It wasn't until later that he became aware that legendary songwriter Jimmy Van Heusen, a Syracusan himself born as Edward Chester Babcock, studied there when it was called Cazenovia Seminary. That story came before "Dreaming after Midnight," the tribute song he wrote for Van Heusen, which came to him from a vision he had of sir Jimmy writing a song at Caz Seminary in the 1930s. Wonderful story and song, with Van Heusen third generation family member Brook Babcock in attendance for the evening, and a banner in honor of the man constructed by local art students hanging behind the stage.
It, like all of the original compositions scattered through the set he arranged for his wicked great 11-piece ensemble, was full of fire, horns and rhythm dancing, flirting, soaring. And it wasn't the only tribute. His "Alive en Veintiuno" -- in the 21st century -- was sent out to lost schoolmates Amy Bradstreet and Steve Cook, as well as his father, whose spirits all live on, he told the crowd. Also, he made sure to point out, it was for his sister, Meg, who has been diagnosed with leukemia, and who is surely determined to tackle this century for all it's worth, too.
The rest of the sparkling set honored the songwriting of Billy Strayhorn, often considered Duke Ellington's silent partner.
And the love Carlon has for this project, the album of 10 songs in this pleasing Latin jazz style released last year on Zoho Records and this big band that plays them with so much style, talent and vigor, pulsed with each note and word.
He poked a little fun at himself about how every piece seems to be his favorite Strayhorn song.
Whether he picked up his baritone sax, his tenor sax or his flute, he played the thing for all it was worth during "Day Dream," "Johnny Come Lately," "A Flower Is a Lovesome Thing," "Passion Flower," "Talk" and, of course, the signature Ellington Orchestra/Johnny Mercer song "Take the A Train."
Corresponding with Carlon in the weeks leading to the show -- I've known him since my days as music writer for The Post-Standard/syracuse.com -- he shared with me this motive for Friday night: "Watching me play with an Afro-Cuban jazz band will be an eye-opener for a lot of these folks. From farmland to the barrio!"
Eyes and ears were opened.
The All-CNY theme was another in a long line of fine programming ideas from Prossner and those who put on this fine fest. The Great American Songbook was safe in the hands of Mulder, the former student, and Oberlin, the mentor, who with Bill Zeffiro on piano and Peter Allen on upright bass, split the set and then came together for one splendid encore piece.
The gloriously red-haired Mulder, a graduate of Christian Brothers Academy who's gaining foothold with Big Apple shows and big city media attention, has a unique and vibrant voice that should draw listeners from anywhere and everywhere. Should I disqualify myself from saying this because her parents, Mary Beth and Jim, are both my friends and former colleagues over at the big daily? Nah. But consider that offered. Simply put: Marissa Mulder should be a star.
Oberlin, then, handles songs and their back story with the charm and poise of a longtime friend. You feel like she's chatting with you. She's so easy to watch and listen to it's ridiculous.
The comfort and ease the pair shared on "Look to the Rainbow" from "Finian's Rainbow" was striking. And, oh, those vocals as they followed the dream together.