Mary Stallings at Smoke Jazz Club

L-R: Emmet Cohen – piano, Mary Stallings – vocals, Peter Washington – bass, Joe Farnsworth – drums at the Smoke Jazz Club in New York City. Photo by Edward Kliszus
L-R: Emmet Cohen – piano, Mary Stallings – vocals, Peter Washington – bass, Joe Farnsworth – drums at the Smoke Jazz Club in New York City. Photo by Edward Kliszus

Mary Stallings at Smoke Jazz Club! This incomparable jazz singer indeed performed with a world-class rhythm section of Emmet Cohen on piano, Peter Washington on bass, and Joe Farnsworth on drums. This combo of especially cool cats can swing, groove, solo, break it down, burn, and lay down a crazy beat.

Mary Stallings with Peter Washington at Smoke Jazz Club. Photo by Edward Kliszus

Mary Stallings with Peter Washington at Smoke Jazz Club. Photo by Edward Kliszus

Confidence, Poise and Charisma

From the onset, Stallings’s repartée was charming, which began with her explaining that tonight’s experience would be uplifting–that was undoubtedly an understatement. Self-deprecating and droll, Stallings giggled about her age before exuding a captivating gravitas through graceful, refined, and sophisticated interpretations of the songs and words she shared. Confidence, poise, and charisma altogether abounded as the audience was drawn into each song.

Musical Poetry

Mary Stallings’s gravitas ascended from musical mastery and poignant depth as she revealed interpretive nuances enriched by the sagacity of life experience. Furthermore, her self-assured presence was certainly supported by her voice’s richness, depth, and resonance as she navigated the elaborate melodies, harmonies, and improvisational essentials of jazz, like “scat singing,” with ease. Consequently, Stallings infused each line of musical poetry with meaning, delivering lyrics with impeccable timing while crafting an intimate relationship with her co-artists on stage and a packed room of admirers.

Harmonious Musical Tapestry

Tonight was a true jazz event with ample chance to hear each artist solo and improvise. During unified interactions between Stallings, piano, bass, and drums, songs were superbly executed and characterized by focused listening, rhythmic unity, improvisational interchanges, refinement, and a collective sense of musical accord. 

Along with the vocal sophistication and inspiration of Stallings’s lead, the instrumental trio created a vibrant and harmonious musical tapestry. They especially showcased the exquisite refinement of the music and their respective profound artistry. It was altogether an especially swinging, groovin’, and blues night of jazz!

Below was the tonight’s smokin’  lineup from the greatest songs of the America Songbook and jazz canon (in the links, you can hear Mary Stallings perform each piece):

Song List

Three Little Words (1930) by Bert Kalmer.
Close Your Eyes (1933) by Bernice Petkere.
Sweet and Lovely (1931) by Gus Arnheim, Charles N. Daniels, and Harry Tobias.
‘Round Midnight (1935) by Thelonious Monk.
Monk’s Dreams (1963) by Thelonious Monk.
I’m Just a Lucky So and So (1945) by Duke Ellington
I Thought About You (1939) by Jimmy Van Heusen with lyrics by Johnny Mercer.
Broadway (1940) by Wilbur H. Bird, Teddy McRae, and Henri Woode.

Mary Stallings at Smoke Jazz Club


Mary Stallings – vocals
Emmet Cohen – piano
Peter Washington – bass
Joe Farnsworth – drums

SMOKE Jazz Club

2751 Broadway (bet West 105th and 106th streets)
New York, NY. 10025

For tickets and information, go to

Readers may also enjoy our reviews of Amanda Green and Friends, Take Me Back to Manhattan at Chelsea Table and Stage, and Madrigal Music.













Mary Stallings at Smoke Jazz Club


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