Praise for Swingers & Standards
“Maybe it's because he's one of the Bistro-awarded Pink Flamingos that Jaron Vesely knows how to get his on-stage points across, casual or dramatic. But in his step away from the group for a solo grab for boite attention, he sure demonstrates extreme comfort. During an opening medley that includes the Michael Buble-Andrew Van Slee ‘Peroxide Swing’ (paired with Stevie Wonder's ‘Sir Duke’), he advises ‘don't be cool, don't be slick,’ even as he's being way cool and way slick. But when I fully realized how accomplished Vesely at his Metropolitan Room stand-alone bow was during the musical break on ‘Story of My Life’ … Perhaps Vesely's supreme moment in an act he calls ‘Swingers & Standards’ was when he wasn't singing at all but just looking forward, sustaining the mood of a doleful ballad as only a masterful singing actor can. Vesely held his pained gaze through more than a dozen measures of musical director Scott Bradlee's virtuosic piano escapades. Only as the fellow was about to resume the melancholy lyrics about a life gone wrong did he lower his head in resignation. Possibly Vesely learned this valuable lesson about filling a break - a lesson about the art of concentration - at the Tisch School of the Arts, where he trained; possibly he found it rehearsing with director-performer Miles Phillips. Whatever, he distinguished himself while at it in the underplayed acting. ‘Story of My Life’ wasn't Vesely's sole first-rate achievement, of course. The thin, lithe, wiry Vesely, has a Diesel-engine baritone and shows it off plenty. The vocal high mar ks were Richie Supa's ‘Misery,’ which he laced into with a fury and, later, a ‘Sing Happy’ that contained all the underlying anger that Fred Ebb and John Kander put into it for a climactic turn in Liza Minnelli's ‘Flora the Red Menace.’ … This Flamingo is well-nigh fabulous on his own.” David Finkle / BistroAwards.com
"Like a bolt from the gods at Valhalla … One left the show with the feeling that this is the start of something big … Vesely projected a bright charm and an off-kilter blend of self-deprecating zaniness … had the audience in the palm of his hands, really listening to the words with rapt attention … he turned his act into something with breadth and vulnerability … riveting …big league cabaret … off to a rousing start in cabaret with what looks like one of the most outstanding solo debuts of the year - impressively directed by a master. Jaron Vesely secured his place in the roster of today's talented new artists on the rise … a terrific show that shouldn't go unnoticed when awards are passed out." John Hoglund / NightLife Exchange
"Wow! ... Jaron Vesely ... underwent a metamorphosis, transforming from a 'lounge act' into a true-blue cabaret show. Bland interpretation fell away, and the artist's feelings began to break through. I say artist, because it takes a real artist, not simply a performer, to make this transformation.... Jaron's amazing vocals were matched by musical director Scott Bradlee's accompaniment. This magical pairing, and Miles Phillips' inspired direction, combined to make this performance a ?delightful treat for a summer Saturday afternoon." - Stu Hamstra / Cabaret Hotline
“Maybe it's because he's one of the Bistro-awarded Pink Flamingos that Jaron Vesely knows how to get his on-stage points across, casual or dramatic. But in his step away from the group for a solo grab for boite attention, he sure demonstrates extreme comfort. During an opening medley that includes the Michael Buble-Andrew Van Slee ‘Peroxide Swing’ (paired with Stevie Wonder's ‘Sir Duke’), he advises ‘don't be cool, don't be slick,’ even as he's being way cool and way slick. But when I fully realized how accomplished Vesely at his Metropolitan Room stand-alone bow was during the musical break on ‘Story of My Life’ … Perhaps Vesely's supreme moment in an act he calls ‘Swingers & Standards’ was when he wasn't singing at all but just looking forward, sustaining the mood of a doleful ballad as only a masterful singing actor can. Vesely held his pained gaze through more than a dozen measures of musical director Scott Bradlee's virtuosic piano escapades. Only as the fellow was about to resume the melancholy lyrics about a life gone wrong did he lower his head in resignation. Possibly Vesely learned this valuable lesson about filling a break - a lesson about the art of concentration - at the Tisch School of the Arts, where he trained; possibly he found it rehearsing with director-performer Miles Phillips. Whatever, he distinguished himself while at it in the underplayed acting. ‘Story of My Life’ wasn't Vesely's sole first-rate achievement, of course. The thin, lithe, wiry Vesely, has a Diesel-engine baritone and shows it off plenty. The vocal high mar ks were Richie Supa's ‘Misery,’ which he laced into with a fury and, later, a ‘Sing Happy’ that contained all the underlying anger that Fred Ebb and John Kander put into it for a climactic turn in Liza Minnelli's ‘Flora the Red Menace.’ … This Flamingo is well-nigh fabulous on his own.” David Finkle / BistroAwards.com
"Like a bolt from the gods at Valhalla … One left the show with the feeling that this is the start of something big … Vesely projected a bright charm and an off-kilter blend of self-deprecating zaniness … had the audience in the palm of his hands, really listening to the words with rapt attention … he turned his act into something with breadth and vulnerability … riveting …big league cabaret … off to a rousing start in cabaret with what looks like one of the most outstanding solo debuts of the year - impressively directed by a master. Jaron Vesely secured his place in the roster of today's talented new artists on the rise … a terrific show that shouldn't go unnoticed when awards are passed out." John Hoglund / NightLife Exchange
"Wow! ... Jaron Vesely ... underwent a metamorphosis, transforming from a 'lounge act' into a true-blue cabaret show. Bland interpretation fell away, and the artist's feelings began to break through. I say artist, because it takes a real artist, not simply a performer, to make this transformation.... Jaron's amazing vocals were matched by musical director Scott Bradlee's accompaniment. This magical pairing, and Miles Phillips' inspired direction, combined to make this performance a ?delightful treat for a summer Saturday afternoon." - Stu Hamstra / Cabaret Hotline