Echoes of South Africa In Butler's Genial Jazz
Saturday, July 29, 2006; Page C09
Singer-songwriter and guitarist Jonathan Butler is never more entertaining than when he's recalling his roots in South Africa, which explains why his 90-minute performance at Blues Alley on Thursday night seemed to fly by.
"Song for Elizabeth," "Going Home," "Pata Pata," "Mandela Bay" -- tunes undulating with South African rhythms and harmonies -- dominated the opening set and helped inspire a series of colorful anecdotes. At one point, Butler recalled his early encounters with South African folk guitarists, who dazzled him with their skittish runs and peculiar harmonies. That's a far cry from the fluid "Earl Klugh meets George Benson" style Butler eventually adopted.
Those smooth-jazz influences -- specifically, Klugh's mastery of the nylon string guitar and Benson's affection for sliding octave runs -- were apparent throughout the show, as was Butler's flair for mimicking Benson's scatted vocals and Stevie Wonder's unmistakable croon. Still, Butler managed to stamp most of the show with his own genial personality and spiritual convictions, despite some routine pop lyrics. He got plenty of help from his college-bound daughter, singer Jodie Butler, and a versatile trio featuring powerhouse drummer Eric Valentine. A veteran of the smooth-jazz festival circuit, Butler doesn't tamp his energy level or trim his set list when he moves indoors. If anything, he seems more eager than ever to connect with his audiences, though it's not as if he encounters much resistance. The show ended with Butler sorting through a blizzard of requests for "Sarah, Sarah" and other favorites.
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