Manhattan Transfer final concert.

"The Manhattan Transfer Calls It a Night With a Final Show at Disney Hall: There's ‘Grieving,' but ‘We Think We're Going Out on Top'"

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The group's apparent swan song in downtown Los Angeles' toniest venue was a happy-sad-ebullient-misty-eyed affair. Two things were left definitively established as part of the essence of swing: clock pendulums, and the Manhattan Transfer.

No revolving doors here. Two members of the quartet have been with the group since its early ‘70s origins, Alan Paul and Janis Siegel; Cheryl Bentyne, for her part, has been in the ensemble nearly as long as those two, having joined up before the ‘70s came to a close; even new guy Trist Curless has a decade's worth of tenure.

Prior to and following the show, the four members talked with Variety about winding things up with a final tour - and final show - that they decided should coincide with a planned 50th anniversary outing. If the goal was to convince everyone attending that this is a group that should not be quitting, mission accomplished.

"I think we're going out on top. And that's the way I always wanted it. I think we all felt that way," says Paul. "We didn't want to have it deteriorate. We want to be remembered for our greatness, and we certainly have a wonderful legacy."

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About the Manhattan Transfer
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Celebrating their 50th Anniversary, The Manhattan Transfer continues to set the standard as one of the world’s greatest and most innovative vocal bands. Winners of ten Grammy Awards, with millions of records sold worldwide, this amazing quartet is building upon the extraordinary legacy created by founder Tim Hauser who organized the four-part harmony group along with Janis Siegel (alto), Alan Paul (tenor), and Laurel Masse (soprano) on October 1, 1972. Cheryl Bentyne (soprano) replaced Masse in 1979, and Trist Curless (bass) replaced Tim Hauser following his passing on October 16, 2014.

Says Alan Paul. “It's astounding to me that the group has been able to create and share our musical harmony for five decades. It is truly a blessing.” Adds Siegel, “We are proud to still be here through all the changes. We stayed true to ourselves. What The Manhattan Transfer does on stage brings so much joy, sharing music we love.”

Defying categorization, The Manhattan Transfer became the first vocal group to win Grammy Awards in the pop and jazz categories in one year, 1981: Best Pop Performance by a Duo or Group with Vocal for “Boy From New York City” (a cover of the 1964 song by The Ad Libs), and Best Jazz Performance by a Duo or Group for “Until I Met You (Corner Pocket).”

“We were always very eclectic musically,” says Paul, “and we did not want to be limited or locked into one style of music. We wanted to make great records and believed that excellence existed in all genres of music. We have always had the freedom to explore and put our harmonic stamp on whatever we did.” Siegel emphasizes the group’s unmatched ability to excel performing a wide variety of music. “We didn’t say we were a pop group. We didn’t say we were a jazz group. We’re a vocal group.”

Beginning with their first performances in the early 1970’s, the members of the Vocal Group Hall of Fame have become cornerstones of contemporary music, known for their amazing versatility, incorporating pop, jazz, R&B, rock and roll, swing, symphonic, and a cappella music. The original group consisted of Hauser, Siegel, Paul, and Laurel Massé. After being signed by the legendary Ahmet Ertegun to Atlantic Records, The Manhattan Transfer made their recording debut with their self-titled album in 1975.

“It took a while to get a deal,” Paul remembers. “We were selling out clubs in New York City, but no one would sign us. The labels thought we were not commercial and didn’t want to take a risk.” Bette Midler was a friend of Tim’s and through her manager, Aaron Russo, invited Ahmet (Ertegun) to our show in Philly and the rest is history.”

In the early 1970’s, The Manhattan Transfer emerged out of the underground, avant-garde movement in New York City. The group wanted to visually interpret the music they were singing like chameleons, constantly changing their image to fit their musical styles. Their look ranged from heavy makeup and surreal Cockette’s inspired costumes to tuxedoes and tails. “We followed the philosophy of David Bowie,” states Paul. “Create a persona, and then destroy it to evolve into something else.”

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