It's been just about a year since I wandered into the celebrated San Francisco cabaret space called the Empire Plush Room and was bowled over by the talents of a relative newcomer to the Bay Area entertainment scene.

In that short year, William Morin put together several more shows for Plush Room patrons and other venues, opened up for India.Arie at the Robert Mondavi Summer Festival and recorded his third compact disc.

Last Thursday night, Morin presented his first headlining show in wine country, serving up a thoroughly engaging performance under the mantle of "A Night in Cuba."

For those who recall television variety shows of old, Morin's evening of song came close to replicating those entertainments, with Morin and a trio of outstanding musicians providing more than enough variety for an appreciative, substantial audience at Copia.

Because Morin is of Puerto Rican stock and inherited a love of languages and cultures from his guitar-savvy father, the evening ran the gamut of Andrea Bocelli favorite -- "Con Te Partiro (I'll Go With You)" -- to Ol' Blue Eyes jazz swinger -- Carolyn Leigh and Cy Coleman's "The Best Is Yet To Come."

Whether the personable Morin sings and dances on a Puerto Rican classic like "El Cumbachero" or prompts romantic reflection on a standard like Sammy Cahn and Jule Styne's "Time After Time," the audience is involved in a winning multi-cultural experience.

There was a cathartic moment -- for this audience member anyway -- following intermission when the affable young singer offered a rousing rendition of the Kurt Weill-Ogden Nash classic, "Speak Low." Here was Morin singing his heart out as exceptional San Francisco pianist/arranger Larry O'Leno rippled up and down the keyboard while a definitive rhythm section (bassist Fred Randolph and drummer Randy Odell) made us want to get up and dance. It didn't feel like the auditorium at Copia anymore. It had the feel of that nightclub in Havana of yesteryear.

And that's how the evening went, what with little musical treasures, a wonderful mix of slides of Havana and its musical and theatrical stars played on the screen behind the entertainers.

The headliner didn't shy away from current events either. He's written and recorded a song, "Now I Know What It Means To Miss You, New Orleans," with proceeds from sales earmarked for victims of the recent devastating storms. It's a heartfelt musical expression and one in which one could gladly invest a little cash.

Then he offered some songs sung in Hawaiian, one that's just for fun, another (Israel Kamakawiwo'ole's "Hawaii '78") addresses the long-held native belief that becoming a U.S. territory was a land grab by Washington bureaucrats.

A rousing "Siboney" kicked things off and the original version of "Manicero" was, well, music to our ears -- ears which, for the most part, had heard this song in various big band jazz arrangements as "The Peanut Vendor."

Touching, too, was the guitarist/vocalist's rendition of a tune some say was written for Peggy Lee, "Here's To Life," a celebration of the person who sees the glass as half-full.

In short, Morin's mainstage Napa Valley debut was a delight. Slowly but surely, music lovers are finding out about this bundle of both talent and energy. As I wrote a year ago, William Morin is a man to watch, a name to remember. I'll stick with that assessment.

For those interested in his CDs, log online at www.williammorin.com.

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