Something unique, something truly startling, something totally mind-blowing occurred on the American Idol results hour last week (Thursday, April 14): Casey Abrams and Haley Reinhart covered "Moanin'" from the 1960 Lambert, Hendricks and Ross album (RCA), The Hottest New Group in Jazz. Making the Charles Mingus melody with lyrics added by Jon Hendricks their own -- and that includes alarmingly deft scatting by both Abrams and Reinhart -- they positioned themselves as The Hottest New Duo in 2011 Jazz.
Furthermore, they accomplished something more definitive than anything else unwrapped this season on the refurbished series. They demonstrated that now American Idol is not your father's Oldsmobile. The reality talent show -- which under Simon (The X Factor) Cowell searched relentlessly for the next big pop star, according to the man's definition -- is no longer blindered to other musical genres. The exhilarating Abrams-Reinhart "Moanin'" proved it beyond a doubt, and the standing ovation accorded the rendition by judges Randy Jackson, Jennifer Lopez and Steve Tyler said as much in silent recognition.
There's no denying that when Cowell anchored AI, he was the most knowledgeable and perceptive commentator, but he was also the most one-track-minded -- and dictated the parameters within which the series operated. This season, it looks as if Jackson, who used to limit himself to meaningless catch-words and catch-phrases (while putting "pitchy" into common usage) has been leading colleagues Lopez and Tyler in cheers for a refreshingly wide spectrum of musical expression.
Although Tyler has occasionally referred to Broadway-type warbling (whatever that is) in what sounds like slightly disparaging terms, all three judges repeatedly encourage the contestants to follow their personal interests and every time the advice is taken offer copious congratulations. Unlike previous years, when contestants were strong-armed into areas with which they were clearly ill-at-ease -- and the phrases "old-fashioned" and "too cabaret" abounded -- this year Scotty McCreery, for instance, is patted on the back for sticking to country music -- although he shows talent for spreading himself wider in terms of material. Among the others, Abrams gets nods for hewing to a love for music pre-dating the advent of rock 'n' roll.
Whoever makes the top-ranked Fox program's behind-the-scenes decisions is at no time explained by host Ryan Seacrest, a much more palatable presence now that he can no longer challenge a taunting Cowell and regularly fall short of the mark. So it's difficult to know precisely why Idol has become tolerant of singing and songs that might not be considered strictly Top 40 fodder. A good guess might be that the undeniable and even radical change is due to Nigel Lythgoe, who has returned to the institution as guiding producer.
Is it he who has freed Jackson to give, for instance, a speech about new American Idols possibly being plucked from any music area -- or has Jackson found his footing independently now that's he's no longer cowed by Cowell? Was it Lythgoe-liberated Jackson -- or was it Tyler or Lopez? -- who made the smart remark about Norah Jones's selling so many albums? The reference was to non-belter Jones, who, had she auditioned for American Idol when Cowell reigned, would likely not have made it past the initial a capella vetting.
Viewers who've watched the show since it began will probably attest that there's never been a season after the initial one where Seacrest, Jackson or someone has failed to declare that the current roster of participants is the best yet assembled. Nevertheless, when the statement is reiterated this 2011 frame, it's easy for the average voting or non-voting couch potato to agree wholeheartedly.
Supported in their tastes and convictions by Jackson, Tyler and Lopez -- who may be the most astute judge who's ever occupied a panel seat -- the participants do well with astonishing consistency and with noticeably fewer melismas. While palpably building confidence from week to week, they also stay wisely within their broad comfort zone -- if, that is, the heavy metal James Durbin likes to espouse can ever be called, or would want to be called by its adherents, comfortable.
The irony of the new, improved American Idol is that it's uncertain whether it can ever regain its momentum. While this week's votes evidently topped the 53 million mark, the viewership is much smaller than at the series peak. Why have the ratings dropped? Age, undoubtedly. Surely, it's not because longtime fans now tune in and then tune out because they miss the rows of young women who used to be placed at the front of the auditorium and obviously asked to raise an arm and mindlessly wave it through just about every tune.
If removing them was Lythgoe's choice and the only one he made, he's to be congratulated.
(By the way, if you think you've missed the Abrams-Reinhart "Moanin'," there's no cause for moanin'. It's sound-and-sight available on Youtube.)