With numerous plaudits and awards garnered over a long career, vocalist Ian Shaw presents Stephensong, a deep dive into the work of one of the most important figures in 20th-century musical theater, composer Stephen Sondheim. Sondheim was also no stranger to awards, having picked up eight Grammy Awards, an Academy Award and the Pulitzer Prize.
Throughout his multifaceted career, Shaw has occasionally focused on interpreting the work of iconic figures including Joni Mitchell, Richard Rodgers and Lorenz Hart, but there is a more personal element at play here. Shaw identifies deeply with Sondheim's struggles for self-discovery, explaining, "I'm gay: I've got scars from my Section 28 demonstrations. These songs mean something — they're about conflict, about resilience. And we're all feeling that now."
The album features Shaw with pianist Barry Green in a stripped-back setting that proves the old adage: less is more. Their restraint creates performances that feel both intimate and emotionally raw. Shaw and Green have collaborated for decades and their timing and rapport are immediately evident on the opening track, Everybody Says Don't. Shaw's diction is remarkable, a crucial asset given Sondheim's precision with language, where every word carries weight.
The duo work their magic through a dark interpretation of No One Is Alone and the hidden gem Take Me to the World. Sondheim was fond of word puzzles and crosswords and Shaw's delivery reveals both the brilliance of the lyrics and that touch of ambivalence Sondheim often employed to transform the simple into the profound.
Marry Me A Little is one of three songs that come from the musical Company and it proves to be one of the album highlights with Shaw's passionate performance moving between jazz and musical theater influences. While Another Hundred People shows Shaw's vocal agility and Green's masterful accompaniment in a vibrant arrangement.
Green's solo on Being Alive is perfectly judged and throughout the album he keeps his improvisations brief, just injecting enough to add variety and sparkle. The focus remains squarely on the songs, as Shaw draws out their inherent emotion and passion, most notably on Good Thing Going. The pull of Somewhere from West Side Story proves irresistible, and it's wisely saved for the closing track, where once again the performance achieves an ideal balance.
This engaging album is a combination of musical theater, jazz and outstanding lyrics. Shaw's vocals are superb throughout, showing his passion and vulnerability as he and Green bring a deliberate simplicity to this elegant exploration of Sondheim's iconic songs.
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