Stella Heath "The Billie Holiday Project" Doesn't Project Holiday's Vibe at LBT

April 7th will mark Billie Holiday's 110th birthday. Along with learning Holiday's birthdate, I learned several things about the remarkable diva that Stella Heath shared from her "Project" which was first performed in 2019. Holiday was given the nickname, "Lady Day" by her friend and music partner, Lester Young. Heath reminded us that her Billie Holiday Shows were gaining traction all over the Bay Area when the 2020 Pandemic hit and shut them down. Heath, together with pianist and music director, Neil Angelo Fontana, collaborated to rebuild their band and present the music of big bands and Billie Holiday's to the audience. The 10-piece band featured some of the finest in swing musicians including Clint Baker (trumpet/trombone), Daniel Fabricant (bass), Johnny Bones (saxophone), Robby Elfin (saxophone/ clarinet). The 6 in the wind section each played 3 different instruments and Fabricant on bass used his bow for a mournful, molto adagio on "Billie's Blues" (Holiday). Stella Heath bedazzled in a shimmering gold lame gown and a a large white flower adorned her updo. She envisioned the spirit of Billie Holiday. Heath told the audience she and Neil were originally from the Sonoma area and were honored to be singing at the Luther Burbank Arts Theater where they attended musical concerts growing up. She invited everyone to feel free to get up and dance. Two professional swing dancers performed on stage to a few numbers, but no one in the audience chose to get up to dance. Heath's singing recalled the tin pan alley vocals of the early 20Th C and the big band era sound. The popular music singing aesthetic had a hollow vibrato that echoed the early sounds of radio. While at first this distinctive sound was intriguing it soon wore off especially when expecting the full falsetto and vocal sliding styles Holiday was best known for. Only two compositions on the program were written by Holiday. "Billie's Blues" and "Now Baby or Never". 'The very thought of' the programming leaning more towards "Swing Brother Swing" (Williams) tain't the business I came to hear. I want to listen to more of Holiday's singing style that made a profound impact on jazz and blues. Still, I have "No Regrets" (Ingraham) having attended "The Billie Holiday Project."  Just "The Very Thought of You" {Holiday}) (Noble) was not delivered as desired but I wasn't deterred enough to "Call the Whole Thing Off." (Gershwin)