Review: Dorian Woodruff's FOREVER ME WITH LOVE Enchanted at Chelsea Table + Stage

Dorian Woodruff is a noted cabaret singer who first came to this writer’s attention when he performed at the New York Cabaret Convention. Woodruff appeared at Chelsea Table + Stage last week for the CD release event of his exquisite new album, Forever Me With Love. Woodruff, a tenor with a shimmering, delicious voice, is a “GQ”-handsome fellow with impeccably coiffed hair, a warm smile and an engaging presence.

Let’s first take a brief look at the album, which has several unique aspects to it. For one thing, all but the title song are ballads. Further, each track has Woodruff singing with just a sole accompanist/arranger. In all but two songs, these were top-notch jazz pianists (primarily Tedd Firth and Lori Mecham, along with an older, bonus track with the late, great Mike Renzi. This track initially started the project, before Renzi’s untimely death in 2021). The remaining two featured ace guitarist Sean Harkness. More than half the album consisted of tunes with lyrics by the legendary couple, Alan and Marilyn Bergman. This spare, simple approach made for an intimate album, as if Woodruff were personally serenading the listener. The thoughtful arrangements, with exceptional piano and guitar voicings, helped ensure that an all-ballad album won’t be relegated to bedtime material.

The release show took a slightly different approach, with a trio led by musical director/pianist Ron Drotos, bassist Matt Scharfglass, and guitarist Sean Harkness. Under the direction of Lina Koutrakos, the patter served to link the album cuts and other material with Woodruff’s life story.

Woodruff arrived to the stage dressed in all black, with a “showbiz” tux jacket and an open shirt. His opening tune, also the album opener, was “Nice and Easy,” a song written for Sinatra’s 1958 album of the same name by composer Lew Spence with Alan Bergman and Marilyn Keith (the Bergmans before they were married). Perhaps ironically, that Sinatra album also consisted of all ballads except the title song. Here, it was gently upbeat with a slightly jazzy Tedd Firth arrangement. Woodruff also sung some additional, unfamiliar lyrics not in the original recording, something he did on other songs in the set, but did not address.

Woodruff really found his footing when he took to the stool and told a sweet story of his “auntie” before launching into “Lazy Afternoon” (Jerome Moross/John Latouche) with Sean Harkness, with just a touch of bass from Scharfglass after the break. Harkness is simply one of the most versatile and nimble guitarists out there, whose thoughtful arrangements and deft playing elevate every singer he accompanies. Here, Woodruff connected strongly with the material, his voice ethereal and gorgeous. Harkness’s dreamy playing was perfection.

In a romantic setup, Woodruff told a slightly risqué story about meeting a hot lover in Brazil. “The drinks were strong, and so was he.” Woodruff seemed especially relaxed here, sharing this side of himself.

“Something to Live For” (the first collaboration between Duke Ellington and Billy Strayhorn) is a true jazz ballad, and is the bonus track on the album. The Ron Drotos slow jazz arrangement had a few moments of swinging, which Woodruff handled fine, though it would be interesting to hear how he approaches a fast swinger. Though Woodruff’s bio describes him as a jazz singer as well as a cabaret singer, there is little evidence of this. His singing seems perhaps too controlled for jazz. However, that control serves him well for the material and arrangements at hand.

“Moonglow” (Will Hudson and Irving Mills/Eddie DeLange) was another fine highlight, in great part from Harkness’s gorgeous guitar work. The singing and the arrangement opened up the song’s meaning in a way I never previously felt from this song, which has been recorded close to 600 times.

It was intriguing to hear Woodruff finish the show with an adult lullaby, “Sleep Warm” (Lew Spence/Alan Bergman and Marilyn Keith), a rarely covered song associated with Sinatra and Dean Martin, recorded a month apart in 1958. In a conversation after the show, Woodruff revealed a fabulous story about his obsession with the Martin album by that name, his acquisition of a rather expensive copy, and an accidental four-hour dinner that night with Dean Martin in Hollywood. That story ought to be in the act!

Woodruff is a fine singer whose airy, sweet tenor has a rich bottom, and has engaging stories. His stage presence is warm, but lacks verve at times. Often, he stands at the mic stand, “recital style,” singing with his hands at his side for most of the song. When he takes to the stool, he has a much more relaxed affect. Still, if you close your eyes, all you will notice is Woodruff’s beautiful tone and unaffected delivery.

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For more great shows at Chelsea Table + Stage, visit https://www.chelseatableandstage.com.

Dorian Woodruff can be found on Instagram at https://www.instagram.com/dorianwoodruffsinger.

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