Now I understand "floating on air." It's a metaphor for when leaving an amazing performance, while trying to walk with at least one foot on the ground. The only thing better than seeing Melba Moore in person is an intimate cabaret setting, where it's almost like being in her living room, albeit oversized. So when I heard that she was appearing at the Plush Room, I didn't have to ponder. I was there.

Prior to that, the closest I've been to Ms Moore was watching a screen, so I was filled with anticipation. When I shared my enthusiasm, people kept asking me, "What did she sing?" Researching a bit, I realised my lack of a snappy answer is that I've got many, many songs by her on CD and reel. Most of them great, since she's worked with legendary songwriters and producers over the years, all of whom were undoubtedly delighted to have her grace their material.

Without revealing Melba's age, I'll repeat her axiom, "Everything old ain't bad." She still looks great, not a kid, still slight enough to amaze with such a powerful voice emanating from such a tiny person. As she assured us, she's been away, but not watching soaps and eating potato chips. (Not a very enticing prospect.)

She arrived belting out "This is It," one of her signature tunes. Right away, I realised this performance was going to be special. She explained that she would not be doing new material on her "Return of Peach Melba" tour. (She didn't actually do any "Peach Melba" songs, but that's okay.) Dancing along, she apologised if she had to sit down at some point if the Excedrin wore off. She's getting hip surgery soon; until then, she's enjoying herself. Wasn't there an album, "Dancing with Melba?" The audience seemed to be enjoying the music almost as much as I was, and I was delighted.

Melba did some upbeat tunes, including "Love's Comin' At Ya," explaining that she had a few dance hits, but she wasn't the disco queen, who would probably be Donna Summer. There were autobiographical breaks featuring folks like Ashford & Simpson and the late McFadden & Whitehead. Mentioning Kashif, she said when she mentions him, people usually say, "Gesundheit!"

A highlight was her rendition of "Falling," done differently from the recording that I've listened to enough times to memorise, but I liked the phrasing better and the ending, a long held note. Melba was famous for her sustained notes, vocal range and dexterity. If anything, she has gotten better, seeming to perform these incredible musical feats effortlessly. I've heard her do this on recordings; in person I was in awe. When I mentioned later that she'd changed some songs a bit, she explained that she and the band were new to each other. Fine with me, for the combo of piano, keys, drums, bass and guitar gave as good as they got.

We learned of how she broke into Broadway. Jerome Ragni asked her if she'd like to do "Hair," which infuriated young Melba. "I didn't get a BA in music to do nobody's hair." After he'd explained that it was the name of a musical, she signed up, later to replace Diane Keaton, the first time a Black performer replaced a white one on Broadway. She did a "Hair" medley with "Easy To Be Hard," "Aquarius" and "Let the Sunshine In," each unique and special performances. Then from "Purlie," the title song and "I Got Love," written for her when audiences demand another song from that girl.

She switched gears with "I Concentrate on You" by Cole Porter, a spellbinding interpretation which gave the band a chance to get in a few jazzy licks, ending with a spectacular high note where she lowered the mike, I guess to avoid overpowering it. Man! That's all I can say.

There was a musical overview of musicians she worked with and helped, including Me'lissa Morgan and Freddie Jackson. Melba sang a bit of "Do Me Baby." Getting back to Kashif, she did part of a song he wrote for Whitney Houston, "You Give Good Love." On to McFadden & Whitehead's big hit, "Ain't No Stopping Us Now," which was terrific and appropriate.

Her final number was "Lean On Me," which she changed a bit to reflect her religious awakening. Many of those associated in any way with Disco has shared that experience. "Lean On Me" is an incredible recording, but the singer made it come alive. One of the things I love about Melba Moore is that she can toss in vocal pyrotechnics without forgetting the song. She's not gimmicky, she's soulful. We even shared a special Melba toast.

Driving back to Pacifica, I tried to recall any performer I'd ever seen who came close to creating such magic. I've been a fan for at least thirty years, but it was not the high of seeing someone I've admired for decades. I'm afraid Melba is so special even I, gt, cannot think of a way to describe her. You'll have to see Melba when she comes to your town.

14 September 2006