On a day that saw the first-ever heat advisory issued by the National Weather Service in the Seattle area, the music inside the Illsley Ball Nordstrom Recital Hall at Benaroya Hall located in downtown Seattle that evening was about to get apropo scorching hot as well.  As the dapperly-dressed crowd arrived early in the lobby to view the premier exhibit of Jazz In The City's photographer Tony Hopkins, illustrating past Jazz In The City shows and artists.  The lobby was turned into a virtual consortium of stories that those pictures happily recalled -- as the patrons that had gathered sipped on various beverages of their choice.

As the sold-out crowd began to file into their seats; this reviewer must admit I was more than a bit apprehensive as to the sound-quality, as to how an acoustically designed, very intimate Recital Hall, might adapt to a contemporary smooth jazz concert setting.  Once guitarist Joyce Cooling and her band took to the stage and finished their first song to a standing ovation. my apprehensiveness was soon washed away like a cool breeze .

Walking gracefully out onto the stage Joyce wore a stylish black halter-top with a matching black sash and comfortable blue jeans.  With her custom built Stratocaster guitar (with extra knobs) slung over her shoulder, Joyce and her band put on a crowd-pleasing six-extended song one-hour set of music.  Her talented and casually dressed band consisted of Billy Johnson (drums) who's been in her group going on ten years, Jamie Brewer (bass) who used to play with the artist Michelle Shocked, and her musical and life partner Jay Wagner (keys) whom she's been playing with going on 18 years.

The first song they played "Daddy-O" (dedicated to Jay's father who used to own a San Francisco jazz club called the Sand Dunes) off her "Third Wish" recording was highlighted by just Joyce's pure expressive joyful playing.  During the song titled "Camelback" the audience were mesmerized by Jay's whistle synthesizer keyboard playing, while Joyce showed her playful side by doing a "Genie" dance and "Walking Like A Egyptian" poses much to the crowds delight.

Other highlights in Joyce's set were of course the song "Callie" done with a beautiful extended vocal opening, the definitive road-song "Green Impala" inspired by Joyce's first car she owned, the tasty "No More Blues" featuring Joyce's soothing soft vocals, and finally the song "Expression" featuring an amazing double-thumbing hand-twisting bass solo by Jamie which you had to see to believe.  The crowd "expressed" their appreciation by giving Joyce and her band mates a standing ovation at the end of her set.  With her current release entitled "This Girl's Got To Play," she proved she "Can Play...And Sing Too!"

After a brief intermission one of Joyce Cooling's favorite band's Pieces Of  A Dream (POAD) took to the stage.  POAD was staffed by Cliff Barnes (keys), Adam Blackstone (bass) who was last seen in Seattle playing with vocalist Jill Scott, Eddie Baccus Jr. (sax & various hand held percussions), founding member Curtis Harmon (drums), and founding member James K. Lloyd (keys & musical director).

Doing a non-stop crowd holler'n from the get go;  with an 8 song 70 minute set, it was only appropriate that the first song they played was "It's Go Time" off their most recent release "No Assembly Required."  With the band members all smartly dressed in different attire, Curtis counted them down with his black colored drumsticks, and their musical party with the audience began.  The next three songs spotlighted the talented and effervescent Eddie Baccus, Jr. much to the crowds delight, who's talent just recently landed him a recording contract of his own.  During the medley of "Knikki's Smile" and "Night Vision" Eddie had the crowd on their feet doing his circular breathing technique theatrics.  Not to be out done, James brought the crowd to their feet once again with his dazzling piano technique, and his synthesizer vocal harmonics.

Just when you thought it couldn't get any better, POAD went old school by doing a medley of "Fo Fi Fo" and Mt. Airy Groove" off their early 80's Elektra recordings.  "We'd like to take you back in a time warp," as James wittingly put it.  With a contingent of audience members safely dancing on the side aisles out of other audience members sight-lines, even POAD's bass player during a point in the show, actually felt compelled to put down his instrument to dance as well!

To give the audience members a chance to catch their breath, James slowed things down with a between-the-sheets gorgeous ballad "2 Nite's," which instead simply took the audiences members breath away.  "This song is dedicated to all the ladies," said James, as you could literally hear women sighing throughout this song.  With just Curtis's magical orchestral cymbal work behind him, James brought out the pure beauty of his instrument, receiving a rousing standing ovation in the process.

On the song "For You" James once again showcased his dazzling piano wizardry by doing his now trademark around-the-world keyboard playing which brought the house down.  He even went a step further by doing this feat blindfolded.  It was another seeing is believing moment in the show.

POAD's set ended appropriately enough to another standing ovation with the song "Club Jazz," as the "Illsley Ball Nordstrom Recital Hall at Benaroya Hall," turned into a intimate swinging hip and happening jazz club this evening.  Who would of guessed... maybe they should rename the venue the "Isley Brother Hall at Benaroya Hall" after this first (and hopefully not the last) Jazz In the City concert experience in this wonderful intimate venue... "this wonderful intimate venue"!