From Cabaret.org - Cabaret in San Francisco by Charles Wixson

Tom Postilio, "This Time Around"
with Ken Muir, Piano,
Thomas Williams, Bass and Colin Bailey, Drums
The Plush Room

Every once in awhile a cabaret show is like a good potato chip or a Kit Kat bar: it is such a pleasure that you want to enjoy the experience again and again. Tom Postilio's current show at The Plush Room (940 Sutter St. San Francisco; 415-885-2800) is one of those experiences; as delicious as it is, it is over so quickly that repeat visits are necessary to fully savor each nuance.

"This Time Around," the name Mr. Postilio has chosen for this show, as well as the title of a beautiful thought-provoking song by the Australian songwriter/performer Peter Allen, reflects Postilio's determination to not hold himself hostage to the magical madness of his youth (in a near quote from his introduction to the song). A couple of years ago, soon after his CD "Dream" (DRG) was released, I had the pleasure of hearing Postilio perform; as his introduction to "This Time Around" hinted, since then he has matured considerably as a performer. On that first occasion, he struck me as being a self-assured young man who had too often been told that he sounded like Frank Sinatra; in mannerism, sound production and attitude he seemed to emulate his obvious idol. Now, although certainly still possessing a style and voice more than capable of producing vocals similar to Sinatra's, he is clearly Tom Postilio, in full possession of his own distinct personality and sound. The talent, insight and desire to accomplish this transition are applaudable, particularly in a world that makes big press of Sinatra wannabees.

This new and improved Tom Postilio was most evident during three very powerful moments during the evening. "This Time Around," sung with an honesty that came straight from the heart in a pure and simple, tender and gentle voice, was very moving. Postilio had a complete grasp of what the song means to him, he emotionally expressed that intimate understanding clearly and without apology and he made that gift of himself a complete package so at its end we felt touched, but not overwhelmed, by the emotion. The connection was extraordinary, and one rarely experienced by me during a performance by a male singer.

The second powerfully connected moment occurred with "Love Me That Same Way," a song Postilio wrote with his friend and colleague Valerie Martini. Upon first hearing this song some time ago, the melody and carefully chosen words impressed me, but hearing Postilio perform it this time made me newly aware of never before noticed layers of emotion that infuse its misleadingly simple structure. Although decidedly a love song, it clearly states the basic understanding and sharing that are require to support a lasting and significant relationship. Also, I was struck that although it appears to be a song to a lover it could just as well be to a child or a long-time friend; in either of those contexts it carries completely different meaning.

The third, and somewhat surprising, emotionally connected moment came with a poignant, experience-informed performance of "It Never Entered My Mind." I have never heard this painfully beautiful Rodgers and Hart ballad sung so convincingly by a man; Postilio's ability to convey the grief and sorrow of the loss this song expresses is alone enough to make one want to return to his show for a second helping. This deeply felt ballad provided emotional depth in an otherwise upbeat Rogers and Hart mini-drama about love discovered ("Manhattan"), questioned ("This Can't Be Love"), regretted ("It Never Entered My Mind") and reconciled ("I Wish I Were In Love Again"). Postilio's deeper tones can be as smooth and rich as melted bittersweet chocolate or a perfectly aged red wine, and when he lets those tones flow effortlessly the senses become so confused one can almost taste the sounds.

Being an excellent balladeer is not Postilio's sole talent. His crooning and swinging sounds are unequaled by any other young male singer performing today, and if you close your eyes he does sound somewhat like Sinatra. The evening included many up-tempo, swinging standards, each served up with just the right amount of charm and joy. The standards came so fast, one after the other, that the songwriter territory covered was impressive: Cole Porter ("All of You"), Ned Washington and Joe and Ned Young ("A Hundred Years From Today"), Harry Warren and Mack Gordon ("Chattanooga Choo Choo" and "You'll Never Know") in a medley with Ruth Lowe ("I'll Never Smile Again") and Irving Berlin (in a Fred Astaire medley: "Steppin' Out With My Baby," "Cheek to Cheek" and "Top Hat, White Tie and Tails"). During each of them, one could feel the energy flow out to the audience and bounce back to the stage.

Late in the show, during "You And Me, We Wanted It All" (Peter Allen and Carole Bayer Sager) Postilio employed both hard-edged, harsh tones and soft, gentle nearly whispered sounds to effectively convey a couple's desperately high expectations for their relationship and the overwhelming sense of loss they feel when they are not able to achieve them. This juxtaposition of sounds, although conceptually fitting in this particular song, pointed out to me that Postilio's vocal production can sometimes sound a bit too harsh; when he keeps his sound softer he produces tones that are consistently on pitch, pure, beautifully formed and a thrill to listen to.

Postilio effectively closed his show with Irving Berlin's "Let Me Sing And I'm Happy." The song's theme, clearly stated in the title, suits him well because he seems to be very happy and comfortable singing to an appreciative audience. That happiness is shared by anyone fortunate enough to observe it.

Ken Muir, a well known pianist around town, provided solid, perfectly performed piano support throughout the evening and, along with bass player Thomas Williams and percussionist Colin Bailey, provided an excellent alternative to a full big band sound. The musical arrangements, by John Oddo, were consistently suited to Postilio's focus and emotional commentary. As always, Brian Morse provided tone-perfect sound management and creative lighting to dramatize the performance.

Tom Postilio will be at The Plush Room Wednesday through Saturday at 8 p.m. and Sunday at 5 p.m. through October 29th. I hope to see you there — at least once — just keep your hands off my Kit Kat bars.