I had a chance to chat with Terese after a recent appearance at The Iridium's Sunday jazz brunch. Familiar with Frances Faye through her recordings, I was impressed with how well Terese channels the no-holds-barred style and forcefulness without being trapped in an "impersonation." Talking to Terese about her idol is to watch someone glow. "There was no one like her," she enthuses and only loses the excitement in her voice when acknowledging that the brash and devil-may-care entertainer is not as well known as other singers active in the 1940s, '50s and beyond. "She was ahead of her time." Terese's research included finding rare video footage and talking to those who knew Faye. " I have been told by Fran's relatives, and people who knew her best, that I definitely evoke the spirit of her in performance," she states with pride. "I don't look or sound like her, at least not yet! So my focus has always been less to impersonate than to approximate." Part of the appeal, as Terese sees it, is that Faye was "completely unique in style, sound, format, instrumentation, and appearance. She bucked the system and challenged the status quo." Faye was quite open about being a lesbian; she shared her life with partner/ secretary/ business manager Teri Shepherd for 31 years. "I was driving home from the day job in the pouring rain, listening to Caught in the Act [a live Faye recording] and I saw a Los Angeles area code on my caller ID." It was Ms Shepherd. "We talked for a half an hour and have been in touch regularly ever since. She's been a huge support." Terese also talked with relatives, friends and fans. "Faye-natics are everywhere! At each and every performance, I have encountered some of the most unique and interesting people who were lucky enough to have seen Frances perform live, and they each have a touching and personal story to tell about their experiences with her." Terese is absorbing it all, and it informs her work. She prizes the conversations she's had with musicians who worked with Faye, whom she now affectionately refers to as "Fran." These include Jack "Mr. Bongo" Costanzo and the Russ Garcia, now 90 years old, who arranged and conducted some of the recordings, including Frances Faye Sings Folk Songs and the 1956 full-length studio cast of Porgy & Bess which featured Mel Torme as Porgy and Frances Faye as Bess. Not exactly type casting. Having also seen Terese zip through a few non-Faye numbers just as herself, it's clear that they naturally share some sensibilities as performers. Terese agrees. "I naturally employ a high-energy and a passion for the same material that Fran enjoyed. I love her approach to a standard." That includes some carte-blanche changing of lyrics to make a point or a joke, scatting merrily or madly, and happy, teasing interplay with musicians. Maybe most of all, they share a determination to have a great time and to make sure the audience does, too. Terese and her "little big band" have that as their agenda at The Metropolitan Room this week, proudly presented by the club's manager, Lennie Watts, who is also a major fan. "I was thrilled that Terese Genecco was available to be a part of the opening month at the Metropolitan Room. Watching her show takes me to where I imagine New York nightlife was at its heyday. It's not just a show, it's an event. It is truly a must-see for anyone who loved Frances Fay, or just loves to be entertained." It sounds like all concerned will be drunk with love ... the love of songs wailed and raising the roof of the new club. I'll drink to that. Terese Genecco in Drunk With Love: A Tribute to Frances Faye is at The Metropolitan Room, 34 West 22nd Street Friday, Saturday, Sunday at 8 p.m. May 19, 20, 21. Reservations: 212-206-0440 after 4 p.m. Form more information, visit www.metropolitanroom.com/. More information on the singer at www.TereseGenecco.com and www.BugOutMusic.com. 
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