"When I entered the auditorium of the Mayflower Church last night for the November edition of the Mayflower Music Series, I was instantly transported to another time, one that I am not quite old enough actually to remember, one that I know only from songs, books, and films from those days. Still the effect I experienced was undeniable. I felt as though I had stepped into a NYC jazz club of the 1940s. This effect was created by both the elegant, dimly lit atmosphere of the venue and the mellow perfection of the group who graced the stage for this month's show: DeAnna Weeden and her Jazzy Gentlemen. Ms. DeAnna Weeden is a modern-day jazz singer who calls to mind the great female jazz vocalists of the mid-20th century, but also puts her own spin on the timeless jazz standards that we know so well. She is a singer with singular range, tone, style, phrasing and presentation. She delivers each song meticulously, utilizing her stellar technique to wring every drop of emotion that she can from every word and every syllable, from the very first note to the very last. Even the ending of each tune was arranged and orchestrated to impress, with a vocal flourish over a crescendo of perfectly blended chords. Ms. Weeden treated us to her versions of "Autumn Leaves," "Bye, Bye, Blackbird," "The Sunny Side of the Street" and other favorites, improvising on their melodies and toying with their phrasing in her completely distinctive style, yet respecting the heart and soul of each melody enough to call up our time-tested responses to these classic tunes. Her professional presentation and "Vintage Vogue" style were perfect complements to the music. She was resplendent in black dress, feathered hat, and sequined gloves."

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"Her equally well-dressed band of Jazzy Gentlemen were jazzy, indeed, playing with effortless tightness, lightness, and subtlety to create a perfect bed for the vocals to rest on. Phil Lesky's piano chords were lush, brilliant, precise, and flowing, his solos inspired and innovative, his interplay with the vocals flawless. Ibrahim Jones bass was mellow, uncluttered, and on the money, always just present enough but never calling attention away from the vocals or the keys--until solo time! Mr. Jones' bass solos were a study in manual dexterity, tasteful, surprising, and dynamic. He played figures I have never heard coming out of any upright bass before. Had I not been able to see his hands or his instrument, I would have to accuse him of having extra strings--and extra fingers! Laying down the rhythmic foundation for the band was drummer Bang Glenn, a king of understatement, capable of the lightest possible touch, yet so steady and consistent that each song moved beautifully from beginning to end. Some of the band's selections, most notably their stunning version of Nancy Wilson's "Guess Who I Saw Today," were very intricately arranged, with changes and segues that only the finest musicians can pull off. The Jazzy Gentlemen could probably have done it in their sleep!" 

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