Audience members at the charming and centrally located Ventura Majestic Theater on Saturday night were put in a time machine back to the 1960s and ’70s for the thoroughly bedazzled Burt Bacharach Songbook in Concert.
Led by musical director Rob Shirakbari, who was Bacharach’s musical director for most of his career, Todd Rundgren, Wendy Moten, and a nine-piece multi-instrumentalist ensemble packed the nearly three-hour show with stellar versions of Bacharach’s slew of hits.
With 73 U.K. and 52 U.S. Top 40 hits, there were certainly more than enough stunning selections to choose from. Shirakbari, decked in a glittery blazer and joyfully leading the band on the keys, enjoyed playing the game with the audience, where he would continually ask “How many of the songs did you not know that Bacharach wrote?”
Raised by a father with respect for the classics, and an appreciation of the fun yet meticulous songwriting style of Bacharach’s tunes, I thought my answer to Shirakbari’s question would be zero. I was surprised that “Always Something There to Remind Me,” the ’80s hit performed by Naked Eyes, was penned by Bacaharach. Kasim Sulton, Rundgren’s bass player, jumped out from the ensemble to sing this one.
Other highlights included drummer and talented singer Elise Trouw singing “The Look of Love.” Her ability to keep impeccable rhythm, crystal-clear tone, and earnest feeling throughout the song was hypnotizing. Former Brian Wilson band multi-instrumentalist, or, as Shirakbari referred to him, “The Mad Scientist,” Probyn Gregory shined with harmonies, bass, ukulele, trumpet, and the purity of his French horn stylings, which cut to the heart and soared from the heavens in each song, especially “Alfie.”
In Bacharach’s spirit of introducing new talent, Shirakbari introduced a newcomer to the music scene with an old soul, Tori Holub. The talented artist channeled Karen Carpenter with gorgeous renditions of classics like “Do You Know the Way to San Jose?” (brought to fame by Dionne Warwick). Every time Woody Mankowski came center stage with his perfect crooning voice, dynamic range, and epic saxophone skills, I knew I was in for a treat. His jaw-dropping performances of the dazzling “Promises, Promises” and dramatic “Arthur’s Theme” are seared in my memory.
Moten’s powerful and seemingly effortless vocals brought down the house in numbers like “Say a Little Prayer for You.” Headliner Rundgren brought his booming voice, signature swagger, and unyielding theatrics to each song. I felt like I was having an out-of-body experience, transported to a retro soundstage when treated to the dizzying, I-can’t-believe-this-is-actually-a-song “What’s New, Pussycat?” Rundgren, knowing he is not Tom Jones, played the song up with some goodnatured ribald humor, and the audience was overjoyed to humor him (and themselves), chiming in with the backing “Woah, woahs.”
Perhaps my favorite number of the night was when Lady Blackbird and Chris Pierce sauntered out for “That’s What Friends Are For.” I have such fond memories of watching Stevie Wonder and Dionne Warwick belt out this beauty and was grateful to see Pierce and Blackbird truly fly with their soulful rendition.
“What the Worlds Need Now” rounded out the set with its all-hands-in communal joy. Post-show, walking out into the twinkling lights of Main Street, I couldn’t help but think the whole world would be buoyed by the night’s powerful combination of live music, communion with others, and time-tested, uplifting tunes.
