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New Orleans crooner Aaron Neville is known for many things: he first scored an R&B hit with "Tell it Like it Is" in the '60s; his duets with Linda Ronstadt have exposed him to wider audiences; and he sings with his siblings in the Neville Brothers. Produced and arranged by keyboardist Rob Mounsey, the material is culled from a variety of pop and jazz standards. With a rhythm section consisting of bassist Ron Carter, drummer Grady Tate, and guitarist Anthony Wilson, Neville puts his Crescent City charm on old favorites such as "Danny Boy" with guitarist Ry Cooder; "Since I Fell For You" with his saxophonist brother, Charles Neville; and a silken rendition of "Cry Me a River" with tenor sax titan Michael Brecker. Ms. Ronstadt guest stars on "Blame It on My Youth," with Roy Hargrove providing the creamy Clifford Brown-tones. Even as he sings Gershwin's "Summertime" as a reggae number, Aaron Neville's vivid voice echoes the eternal tones of the late Benny Carter's vibrato-rich alto sax sound. One question: Why wasn't this done before? --Eugene Holley, Jr. ... Read more

Reviews (20)

The angelic voice is back!
I have always loved the sound of Aaron Neville's voice and that will never change. At times have been disappointed by the quality of material that he choses to sing as he tends to cross over into some serious sap instead of focusing on challenging material that he can interpret.

Although everone and their cousin who can't sell records these days is going the standards route, Aaron's release has its merits and is slowly growing on me. Is is perfect? No.

As usual his song selection does him in from producing a masterpiece. His best covers to date for me are Sam Cooke's "A Change Is Gonna Come" and Bob Dylan's "With God On My Side" from the amazing release by the Neville Brothers titled "Yellow Moon". The emotion just pours out of his voice in a way that it had not before nor has since.

That does not mean that this is a bad release, but only a notch above Aaron's previous solo work because he at least picked some songs that he shines his way through. I love what he does with "Nature Boy" and "Cry Me A River". The whole thing is too breezy and cool, but never compelling. I know that Aaron has that masterpiece waiting to happen. Please contact Daniel Lanois and get to work on some 5-star material.

Notwithstanding my gripes, as exemplified by his tepid cover of "In The Still of The Night", this man has the voice of an angel and I love to hear Aaron sing almost anything so I do recommend this release to those know what they are buying.

THE NEW NEVILLE
Aaron Neville's "problem" (sorry) has always been his one-of-a-kind voice. How to match such wonderful vocal cords with equally wonderful lyrics and music? Well, the solution, at long last, has been found: NATURE BOY. One question: Why did it take so long for this match to be found? MORE, PLEASE! And long life to Aaron!

Good Album
This is a great album! It shows Aaron Neville at his best with his ultra unique sound. He makes the jazz standards that he sings magical. He is a great artist. I highly recommend this album. 4 stars.

I must be the minority...
First off, Aaron Neville has a beautiful voice, so he gets points for having such a unique voice.

However, I found nearly all of this album "Nature Boy" to be way too slow. This is almost sleep-inducing music.

I've heard a lot of these standards before and they are not usually done this slow. So I would be listening to a familiar song, waiting for it to pick up anytime now, but it never did.

+'s Neville's voice, the selection of familiar songs, Roy Hargrove sounds great as a guest on trumpet/flugelhorn

-'s The whole pace of the album. Just generally too s-l-o-w.

Overall, I'll have to disagree with the majority and say this one's not worth the money.

LIGHT, EASY LISTENING,VERY ROMANTIC WELL DONE!
THIS CD IS GREAT IT CAPTURES MR. NEVEILLE'S BEAUTUL VOICE IN SOME MANY WAYS HE'S DOING CLASSIC SONGS IN WHICH PATTI LABELLE NEEDS TO DO A PROJECT LIKE THIS(SMILE) OR ARETHA FRANKLIN (GRAMMY 2004 WINNER SMILE) BACK TO AARON THOUGH THS CD SHOULD BE NOMINATED NEXT YEAR FOR A GRAMMY IN WHAT CATEGORY WHO KNOWS MAYBE JAZZ VOCAL PERFORMANCE OR SOMETHING LIKE THAT BUT THIS CD NEEDS TO RECOGNIZED. LONG LIVE THE CLASSICS ... Read more

Reviews (11)

Billie's Middle (Peak?) Period
I agree during this period (1940s) Billie Holiday was at her vocal peak. I feel critics have overrated this collection mostly due to the fact Billie Holiday's voice was still in good shape and the effects of her drug addiction hadn't yet taken effect. When she switched labels, the folks over at Decca were trying to mold and shape her into the next Peggy Lee or Doris Day, making her into a more mainstream model than what she had been in the 1930s. The arrangements (full size orchestras, syrupy strings, background vocals, etc.) don't always work. Sometimes they clash w/ Billie's delicate voice. Billie is still best suited by a trio combo or just a piano. At least the new label was going for a different sound and approach than what she was getting at Columbia. It just didn't work for her. Fortunately for Billie, she overcomes the arrangements w/ wondrous phrasing and choice of great songs, some of them indeliby linked w/ her--God Bless the Child, Good Morning Heartache, Loverman, Ain't Nobody's Business, That Ol Devil Called Love.....

An essential collection, beautifully remastered
I heard my first Billie Holiday recording in college in the 60s. It was a double LP called "The Billie Holiday Story" on the Decca label, in "enhanced stereo". I fell in love with her voice and bought the album, which I proceeded to play so often that the grooves wore down. So it was with extreme pleasure and anticipation that I read of this CD set, which contains all of the tracks from the LPs, as well as all of Billie's other recordings for Decca. The digital remastering is superb, and to hear the songs in their original monaural sound instead of the "re-channeled" stereo of the LPs is a revelation.

At first, I was tempted to program around the numerous alternate tracks, but as time went on, I was very glad that the producers included everything. Listen to the alternate of "No More", rescued from the MCA Japan vaults; despite substandard sound, the power of Billie's voice comes through, with nuances which make it quite different from the recording which was released. It's fascinating to hear the four takes of "Big Stuff", a show tune by Leonard Bernstein, as Billie finally manages to make it her own.

And of course all her truly great recordings from this era are here: "Lover Man," "Solitude", "My Man", and more. The package includes extensive notes and recording information. This is an outstanding and loving tribute to one of the greatest singers of the 20th century.

Powerful stuff
This must really have a label with a warning: this is really heavy stuff. Dont think because this is mostly Billie with her orchestra this would be a conventional pop record. By this time in her career, Billie had transformed the art of singing, she was in a category all by her own. Good morning heartache may be my all time favourite Bilie recording. Essential listening for anyone interested in vocal jazz.

TRULY the BEST of Billie Holliday
No arguments here with any of the other reviewers. I give this set 5 stars because they don't have 6.

This box set truly captures Billie Holliday at the peak of her craft. Her voice never sounds better. Secondly, the arrangements are fantastic and rarely have I heard musical accompaniment that so masterfully compliments and highlights a singer's voice. Finally, the tracks are impeccably mastered and recorded. The original recordings are wonderful and they don't use modern sound technology to clean up the recordings to the point they sound stale and sanitized. The sound quality is rich and truthful; yet no annoying hiss or other imperfections.

I believe Billie was at the height of her popularity during the Decca era and she never gets better musicians to work with or a better selection of songs to "interpret." This is after the "tin pan alley" era and before Billie gets strung out and jazzed out with sparse arrangements and accompaniments.

Simply put, this is the best music ever recorded, by one of the 20th Century's greatest artists.

My favorite Billie! Captures the dark 40's best.
This is my favorite Billie Holiday of them all. It captures the "film noir" feel of the 40's best of dark, smoke-filled rooms, blinking neon signs over cheap hotels. I expect to see Bogie coming thru the fog any moment. Everyone talks about her earlier Columbia work with small groups, which has more of a swing feel. This one is more dramatic with the 40's type orchestra painting a dark picture on great cuts like: Big Stuff, No More, Don't Explain and of course God Bless The Child. There are many fascinating outtakes as well, each one with a different interpretation.The box is classy with detailed dates, personnel, great photos and Billie's life. A wonderful box set. Ideal for overcast days. This is Billie at her emotional best. Definitely a keeper for life. ... Read more

Reviews (13)

Forgotten gems - both the disc and the artist.
How do you solve a problem like Jane Olivor? When you listen to this disc (and I command that you do so!) you will inevitably ask two question? Why haven't I heard of this woman before now? and, Why isn't she more popular? Well, it will remain one of life's mysteries. Jane Olivor's "Chasing Rainbows" is a very special CD. It belongs in a very select group of CDs which should also include Art Garfunkle's "Angel Clare" and Judy Collins' "Judith." I first discovered this "album" by reading about it in "Stereo Review" - it was a 'best of the month" selection. Then I saw her on Johnny Carson. I knew I had to have that album. Twenty-six years later I'm still blown away by it. "The Big Parade," "The French Waltz," "Lalena," "It's Over Goodbye" and "Beautiful Sadness" - the vocals are tremendous. The contemporary ballads "You" and "Come in from the Rain" are very well done. "I'm Always Chasing Rainbows" is gorgeous.

Essential even after all these years it's top notch -
Jane Olivor's voice is absolutely transfixing and owning this cd and "First Night" are essential for every collection of pop music because they are the standards by which others can be judged. She massages a song for all it's worth. These melodies are all delicious and she makes the most of them all.

"I'm Always Chasing Rainbows" and "Some Enchanted Evening" are the most gorgeous covers of these songs I've ever heard where she holds the notes for an eternity but you hope she never stops. "Come in from the Rain" is such a moving lyric and she captures every essence. "French Waltz" is another one of my favorites by Jane Olivor on this cd.

I am ecstatic she will be releasing a new cd this month. Her first two cd's astounded me (this one and "First Night"). I owned them both at their release and still love them - never sold them out of my "cd graveyard pile" but have replaced them and to me that's the highest measure of quality or greatest compliment to an artist I could ever give.

Bravo.

Great gift for my parents
Last year my parents were visiting our home when that singer from the 70's who had stagefright, Jane Olivor, came up as a topic of conversation. My parents were wondering whatever happened to her and remembering how much they enjoyed her music.

In light of that conversation and my recollection of how much my parents played Jane Olivor's music in our home when I was a kid, I searched for this album and found it on Amazon.com! I gave this album (and First Night, which is also available through Amazon) to my parents for Christmas, and they loved it. It was a real treat for them to get this relatively obscure album and hear it again on a digitally recorded CD.

Jane Olivor has a beautiful voice. Back in the 70's, she was compared to Barbara Streisand - deservedly so. This album is a great compilation of songs that continue to sound fresh and fit right in with today's adult contemporary music.

Favorite CD
This is by far her finest work. I have been a fan for many years and have worn out the 8 tracks a few times and have now replaced all her work with CD's.

Her first two LP's set her apart from all the rest
When she played in the Chicago area I was there. Brought as many friends as I could, even my mother enjoyed this one glorious night with Jane. Track #9 "Beautiful Sadness" is as lyrically and vocally poignant as was "Vincent" on her first LP. Pure poetry in motion all the way around. Unlike her unfortunate version of the Melissa Manchester/Carole Bayer Sager song "Better Days" on her first LP, "Come In From The Rain" lives up to its full potential, and then some! "It's Over Goodbye" is a dagger to the heart. I think of my parents, especially my mother, when I hear this song. How sad and painful! "Lalena" two daggers to the heart! "I'm Always Chasing Rainbows" another favorite. Jane is best when she's tearing your heart out. So when she does her "lighter" songs I usually lose interest; however, "You" is a real gem. When I think of Jane Oliver I think of her first two LP's and what masterpieces they were and are. Like so many others have already expressed their sorrow for her long silence, what a shame she didn't record for eighteen years. ... Read more

Amazon.com essential recording

Whether playing Anna in The Seven Deadly Sins or singing "Moritat vom Mackie Messer" ("Mack the Knife"), Lotte Lenya helped define the music of her husband, Kurt Weill. The duo literally created the soundtrack for the prewar Berlin of our fantasies--an exotic land of nicotine and nightlights--where cabaret, jazz, and the odd American instrumental influence all coexist happily. Now remastered, this collection gathers Lenya's legendary 1957 recordings of Sins and her 1955 recording Sings Berlin Theatre Songs. Forget subtlety--Lenya is all about emotion. On cuts like "Pirate Jenny," Lenya's voice sounds fluttery and frantic, and on "Surabaya-Johnny," her German sounds fragile and sweet, but mostly she's just herself--bittersweet, raw, and (most of all) human. In spirit, Marianne Faithfull, PJ Harvey, and a host of others all kept the torch of Lenya's style going. But after listening to these Berlin theater songs in classic form (and in their original tongue), you'll never hear them the same way again. --Jason Verlinde ... Read more

Reviews (5)

"An important landmark in dancing history"
The seven Deadly Sins was commissioned as a dance piece for Les Ballets in 1933 with choreography by George Balanchine. Balanchine restaged it at the New York City Ballet with Lenya in 1958. Anna Sokolow who had difficulties working with Bertold Brecht closely (Galileo), gave her own interpretation to this play as a director with Netherlands Dance Theatre in 1967 and in Detroit in 1976 (Cleo Laine, Mary Hinkson), and in Boston in 1990.

"An important landmark in dancing history"
The seven Deadly Sins was commissioned as a dance piece for Les Ballets 1933 with choreography by George Balanchine, Balanchine re-staged it at the New York City Ballet with Lenya in1958. Anna Sokolow who has difficulties working with Bertold Brecht to close (Galileo), gave her own independent interpretation to this play as a director with Netherland Dance Theatre in 1967 and at Detroit in 1967 (Cleo Laine).

Exquisite!
A few weeks ago I ran into this album in a corner store, and, not knowing what to expect, bought the CD for the heck of it. Admittedly, Lotte's style takes some getting used to, but once you do, she's one of a kind. It's as if her voice vibrates with the essence of life itself, and every time I play her I discover new aspects of her interpretation. I only wish the Heritage vocal series would release more of her remastered performences.

Delightful
Since I purchased this CD, I've been unable to stop listening to it. Lenya is one of the greatest interpretive artists I've ever heard; each song is a small drama, exquisitely acted. Like Callas or Piaf, she uses an unconventionally interesting voice to reveal beauty and interest. Here's hoping for a great revival of appreciation for this artist.

Lenya Embodies Weill's Music
Remastered, the sound quality on this CD is excellent. Though she may not be the best singer, Lotte Lenya embodies the music of Kurt Weill. Her raspy voice, at once jaded and innocent, lends an edge to the characters in the songs. For a comparison, also try Ute Lemper's and Teresa Stratas's recordings of Weill. ... Read more

Reviews (1)

Perfect Introduction
Rockin' Chair. Lazy River. Bread and Gravy. Hoagy Carmichael evoked the blissfully relaxed lifestyle of a rural America that no longer exists. (Sometimes I wonder if it ever did.) His musical world is among the most distinctive and influential in 20th century jazz and pop, and for that reason you should give him a listen. There's no better start than this CD. I'm no expert on remastering, but the sound quality here appears to be excellent.

Most of the tracks are from the 1930's. Hoagy is alone at the piano in several tracks, and accompanied by an all-star orchestra in others. Then there are covers by a few of his contemporaries. My only problem is that they left out his 1930 recording of "Georgia on My Mind,"(my favorite) and they should've included another version of "Star Dust" - namely, Louis Armstrong's. But it's impossible to do these kind of cross-sections without disappointing someone. Overall, an excellent introduction to genius. ... Read more

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The late Peter Allen became an international pop icon of many a disparate part: evocative tunesmith of such unabashed sentimental pop as "Don't Cry Out Loud" and "I Honestly Love" you (both original versions of which are included here); vigorous stage performer who willfully blurred the line between mere flamboyance and outright camp; the original ex-Mr. Liza Minnelli; one of the first celebrities to openly admit their homosexuality. Such was Allen's life that it became the basis of the hit stage musical The Boy From Oz in his home country of Australia in the late 90's, then a Hugh Jackman-starring Broadway edition for the 2003 season. The 20-tracks here make a fine companion piece to that Allen revival, wending their way from early 70's Australian pop fare like "Honest Queen" and "Tenterfield Saddler" through his embrace--and shamelessly emotional retooling--of the decade's introspective singer-songwriter mindset that led to MOR hits for Olivia Newton-John, Melissa Manchester, Pablo Cruise, and others, to his ebullient, hard-won career as solo artist in his own right. Culled from Allen's various albums for A&M, RCA, and Arista, the tracks here display a shameless devotion to tin-pan alley traditions ("Everything Old is New Again," a cover of "The More I See of You"), American songbook icons (the Judy Garland tribute "Quiet Please…"), and the solid pop craftsmanship that led to mega-hits like "Arthur's Theme," all of them powered by an effusive performing sense that was truly bigger than life. --Jerry McCulley ... Read more

Reviews (1)

Cabaret Magic.
At last, Miss Mercer's best work is on CD. Mabel Mercer is definitely an acquired taste like Billie Holiday (who was a Mercer devotee), and this disc contains all of her 10" Atlantic LPs. Put yourself in the pre-dawn world of an early 1950s NYC nightspot, and immerse yourself into Mabel's classic readings of both famous and rare songs. ... Read more

Reviews (3)

Another great, romantic album
If you hear the first 32 bars of this album, you're liable to ask, "Who or what is that??"

You soon discover that that was the rarely-sung intro to the old chestnut, "Tea for Two."And then, rather than the soft-shoe shuffle, tap dancing arrangement that you invariably hear with this song, you hear an intimate, beautiful piano arrangement by Mike Greensill, while Ms. Whitfield vocally caresses the song.

The feeling of "wow!" is subsequently dimmed somewhat by the fact that every one of the 15 tunes on this album is basically more of the same.

But only slightly.This is the most exquisite piano-voice duet album since Tony Bennett and Bill Evans.(Well, there is a bassist here; but the arrangements make him superfloss.This might as well be a voice-piano duet album.)Mr. Greensill in particular is sensational throughout.And, if you're like me, this album will be the first time you have heard the intros to such songs as "Autumn in New York", "Street of Dreams" and "Some Other Time."Ms. Whitfield believes in complete interpretations, and that's a good thing.

The only non-Great American Songbook-standard on this set is the title track, the famous Lennon-McCartney tune of the same name.I love Ms. Whitfield's description of this Beatles' chestnut from her liner notes:"This is the story of everyone's life; ordinary and extraordinary at the same time, with value beyond price."

Touche.And with that sentiment, she really summarizes everything meaningful to be said about this entire c.d.

If you like splashy arrangements with oodles of musical coloration, and finger-popping uptunes, you'll want to skip this one.But if you're looking for the perfect c.d. to put on the changer, with the intent to seduce some beautiful, intelligent person late at night over some 10-year-old chardonnay, you've found it here.RC

'In My Life'...Wesla in top form
If you are a fan of Wesla's you will definitely want to own her latest recording. If you haven't had the pleasure of hearing her previously then buy this album and prepare for a wonderful treat!
On this outing she favors the listener with a
whole collection of beautiful ballads. While I have always enjoyed Wesla's versions of up tempo and even novelty songs, it is in her lovely rendering of ballads that her voice is at its most sublime.
She manages to transform the usually schmaltzy 'Tea for Two' into an absolute valentine and her wistful take on 'I Have Dreamed' with Mike Greensill's brilliant
lilting bossanova-like arrangement is nothing short of superb!
She sang the title cut 'In My Life' in her show at the Plush Room in San Francisco. I was in tears within three bars, and was not alone. The intimacy she brings to this song, the sense of loss and love and recognition seems to speak to each listener on a very personal level.Wesla recorded 'But Beautiful' and 'In the Wee Small Hours of the Morning' on her 1988 album "Nobody Else But Me", but both are great songs perfectly suited to Wesla's voice and certainly worthy of being included again this time around.
'Autumn in New York' makes you want to seek out a cozy fireside and the languid, measured pace of 'Young and Foolish' make it a stand out as well. The final song, 'Some Other Time' gives Barbara Cook's previously definitive version a run for its money. It is an achingly pogniant and fitting conclusion to a collection of ballads.
Mike Greensill is amazingly talented at creating the perfect arrangements for Wesla. His always stellar piano acompaniment, along with that of John Wittala on bass offer up the ideal compliment Wesla's singing. I have all of Wesla's CD's and somehow I think this one comes the closest to capturing the sound, feeling and intimacy of her live performances. Highly recommended!

San Francisco Chronicle CD Reviews
Singing and gently swinging at the top of her already lofty form,
Wesla Whitfield has made herself musically indispensable. Those who
missed her recent glowing evening at the Empire Plush Room can now
catch up with the latest marvels from San Francisco's hometown
cabaret heroine. Whitfield spins out 15 suave, richly felt
interpretations here on a ribbon of amber sound, undulant phrasing
and shimmering, clear lyrics. She can turn from sassy to seductive to
wistful in a moment, but nothing ever feels hurried or forced.
Everything flows with a natural inner pulse, whether it's Rodgers and
Hammerstein ("When the Children Are Asleep"), Lennon and McCartney
("In My Life") or Harburg and Schwartz ("I'll Be Tired of You"). The
opening cut, a luxuriant amble through "Tea for Two," of all things,
signals what's to come -- the unexpected pacing of a familiar song,
the discovery of fresh wonder and pain, the illumination of a song's
inner space. "Where Is Love?"(from "Oliver! ") comes across as
murmurous introspection. "Some Other Time" is philosophy set to
Leonard Bernstein's ruefully resigned melody. When Whitfield turns
her thoughts to "The Wee Small Hours of the Morning," you can hear
that she's been there and found her way to memory's mixed
consolations. Her husband, Mike Greensill, supports her, as ever,
with his perfectly judged musical direction and faultless piano
settings.
by Steven Winn
San Francisco Chronicle, January 30, 2005 ... Read more

Amazon.com

More comedy monologue than musical performance, Bea Arthur's one-woman show Bea Arthur on Broadway: Just Between Friends collects memories from the silver-haired star's life on Broadway (Fiddler on the Roof, Mame, The Threepenny Opera) and television (Maude, The Golden Girls).

"I wanted to see if I had the guts to just come and be myself," Arthur says in this performance recorded in front of a live audience in December 2001. Alongside co-creator and pianist Billy Goldenberg, she offers wry and often funny anecdotes about her career and the people she's worked with (Angela Lansbury, Pia Zadora). When she does sing ... well, even decades ago Arthur didn't have a beautiful voice, but she's well-suited to the comedy songs. And her versions of Kurt Weill's "Pirate Jenny" and Goldenberg's own "Fifty Percent"--while they won't make anyone forget Lotte Lenya or Dorothy Loudon--are effective in their own right. Bea Arthur on Broadway is definitely more Bea than Broadway, but it's a career well worth remembering.--David Horiuchi ... Read more

Reviews (27)

A trip down memory lane...
Bea Arthur, one of the finest performers of her time.
Bea is most known for her role on the sitcoms Golden Girls and Maude, but she's done so much theater work as well.
She was in the cast of the original U.S production of "Threepenny Opera" starring Lotta Lenya, and in the original cast of "Fiddler On The Roof" and "Mame". But Bea started her theater career in a show called "The Shoestring Revue".
Bea stoled the scene every night when she performed as yente the Matcmaker on "Fiddler On The Roof" and she also got a hole lot of response as Vera Charles on "Mame", starring Angela Lansbury. In this live performence Bea performs a collection of songs chosen by herself, such as, "Let's Face The Music And Dance", "Isn't He Adorable", "Fifty Percent" and her theme song from Mame "The Man In The Moon". Bea is absolutely one of our time finest performers, with her witty sence of knowledge and her indefiable voice she has establised herself as a broadway legend, alongside Judy Garland, Elaine Stritch, Mary Martin. She is one of the last broadway female legends alive. And still going strong, Bea is rounding 80, but you wouldn't notice.
Do yourself a favour and take a trip down down memory lane, it's your chance to hang out with the last female broadway legend around.

A Truly Remarkable Accomplishment
As a huge fan of Bea Arthur's, I was very excited when I heard she would return to Broadway to do a one-woman show. Not since winning the Tony Award for Best Actress in a Musical for "Mame" has Bea Arthur been on stage. Well, what a way to follow up! This cd (which was recorded during a live performance) Bea gives fans an intimate look into her show business life. The stories are very funny and touching, and the songs (which Bea picked out herself) are fun, beautiful, and magical. A favorite part of this cd for me, is when Bea talks about her days on TV. She was the star of two very successful and groundbreaking sitcoms, "Maude" and "The Golden Girls" I am a huge fan of "The Golden Girls" and Bea's character Dorothy was always my favorite. This cd is a must for any Bea Arthur fan, but the appeal of this amazing show goes beyond her hardcore fans. Any fan of classic Broadway and cabaret songs will love this cd. This is one of the favorite cds I own, and should be treasured by more people. And finally, as a sidenote, Bea's one-woman show was nominated for a Tony Award in 2001 in the category of Best Special Theatrical Event.

A MEMORABLE EVENING WITH BEA.....
An intimate, up-front encounter with a fabulous woman. That's this CD of Bea Arthur's one-woman stage show. That recognizable baritone can make you laugh, cry, laugh again and always keeps you spellbound as you listen to her tales of a very colorful career and her takes on her favorite songs. Accompanied by old friend and pianist Billy Goldenberg, she gently but firmly takes the audience into her capable hands and holds them there until she says good-bye. You want this evening to keep going. It's bittersweet when it ends. From her daffy lamb recipe through her remembrances and songs, she's one of the reasons there's nothing like live theater. Hilarious, touching, surprising and bawdy---you won't go wrong with this treasure. I was surprised by her faithful rendition of "Pirate Jenny" from "The Threepenny Opera"---her tribute to Lotte Lenya. This lady's oh-so-much-more than "Maude" or Dorothy from "The Golden Girls". Oh, yes. A lot more. Get this. And don't miss her memories of Tallulah Bankhead.

And Then There's " My Review":
I had the opportunity to see Bea perform in Toronto this passed fall....having come all the way from Tennessee!
What a treat it was and having this soundtrack will always remind me of that wonderful night when she shared with us a look back on her phenomonal career beginning in Broadway!
If you want a good laugh in Bea Arthur style, this CD is a must!

Classy lady will entertain you
Bea Arthor is one of a handful of entertainers that I truly admire. I loved her in The Golden Girls and even in Maude though I was pretty young when that was on. this CD will have you laughing and singing along with Bea as she takes you down memory lane. From the monologues and stories she tells you can see she has had a wonderful life and still going strong. I loved every minute of this CD and its my first choice when I want to hear something unique. Highly recommended. ... Read more

Reviews (1)

Not what I thought
I purchased this album hoping for the rich sound of a classic song. If you are an Edith Pilaf fan, you will probably enjoy this CD. I will continue my search because I don't like the grainy vocal quality of this person. If you are someone whose French is a little rusty...don't look for a translation in lyrics. There are none. Edith Pilaf fans..enjoy! All others...steer clear of this one. ... Read more

Reviews (1)

Funny and very English songs
Michael Flanders and Donald Swan composed and sang their own amusing songs, accompanied by Donald Swan playing the piano. Flanders was a large man in a wheelchair and Swan a slight man. Good natured, somewhat dry, and very English lyrics, and somewhat dated, as they were popular in the 1950s and 1960s. They did wonderful stage shows in those simpler times. ... Read more

Amazon.com

"The singer, not the song"--it's an adage as old as cabaret itself, yet one that seems to have generated as much stifling cliche as liberating music. German chanteuse Ute Lemper has forged a career that's willfully confounded the first at the same time it's gratifyingly taken the latter mission to heart. While this release turns from Punishing Kiss’s more contemporary Tom Waits/Elvis Costello/Nick Cave flirtations to the traditions of Lemper's beloved Weill/Brel/Piazolla repertoire, it also folds four of her own original compositions into the mix for the first time, songs that underscore her forceful voice and muse with ambitious grace. The melodic sophistication of "Lena" (the tale of her manager's Holocaust survivor mother, with guest Laurie Anderson providing subtle colorations) is the most artfully determined of the quartet, a song that seems more akin to the intensely personal prog/alterna universe of Bush and Amos than it does a smokey Berlin club. That sense of illumination is the key throughout this masterful, beautiful portfolio. Lemper's takes on Weill's "September Song" and "Speak Low" sparkle gently, while her covers of Brel's "Ne Me Quitte Pas" and Piazolla's "Buenos Aires" and "Oblivion" positively glow with determination. At once musically expansive and thematically personal, Lemper boldly challenges any number of hoary genre assumptions with what's arguably her most accomplished and satisfying album. --Jerry McCulley ... Read more

Reviews (9)

"On the Weill side"
According to the liner notes, this album, which was recorded in New York ("where nothing is the same"), is Lemper's response to the events of September 11 (the World Trade Center is visible in one of the photographs). Perhaps that accounts for her inclusion, at the beginning, of "September Song," a song she has recorded before but which serves here as the perfect umbrella for an otherwise motley assortment of tunes, including four that are self-penned. There are no American songs, as such, although both Weill compositions were written for Broadway, but most are rendered in English, often with new lyrics, as in the Piazolla selections, by Lemper herself. I can't help wondering whether her decision to write her own material as well as to include two Jacques Brel numbers, both covered elsewhere by Scott Walker, may be the fruit of her collaboration with Walker on "Punishing Kiss," a masterpiece of its kind but not really representative of what Lemper does best. Whatever their inspiration, the four new songs are easily the freshest things on this album, and the most immediately engaging, representing a culmination in Lemper's search for material that is both pop-inflected and worthy of inclusion among her international repertoire. The Heymann/Ziegler compostion, "Living Without You," also falls into this category and would make an excellent single. The more I listen to this ablum, the more I like it, at the same time that I am impressed by its artistry. No pretension here, and that's amazing on an album that includes Lemper's own "words inspired by" Bertolt Brecht. "But One Day" is a watershed in the constantly evolving career of one of the world's most challenging and creative artists.

cabaret goddess strikes again!!!!
i was first introduced to the work of ute lemper as a manager in a music store in NYC. "illusions" was my first taste of that heavenly voice and since that day i have followed her career with
intense pleasure. in this age of celine dions' and sarah brightmans' it is so appealling to be in the musical prescence of what i personally consider a master of her craft.....this woman can do it all: sing (in various tongues no less!!!), act
and now with the release of "but one day" write personal, involving music that takes you to a totally new level!!! ute's
style and approach make me yearn for a seat in some dusky weimar-
era berlin cabaret drinking absinthe and watching the world pass by with all the ennui i posess.......

Challenging
This is a record that I bought because I was intrigued by the cover. I had no idea what I was getting. I'm a big fan of the jazz singers and standards.

Her voice is tremendous.

The songs are where the challenge lies. You've almost got to concentrate to hear what makes this music special. It doesn't just grab you, like for instance Frank singing "Fly Me to the Moon".

haunting and beautiful with an edge
My first exposure to Ute Lemper was the overly strong Punishing Kiss which blew me away. It's hard to find artists these days who are different from the mainstream. But One Day is a little softer and took some getting used to. Now it is haunting me. There is so much beauty in the melodies and her singing. Rarely does an album open up such emotional feelings.

The Amazing Ute
In the world of singers, there are some singers who can do it all: sing, write, and play instruments. Then there are the singers who *strictly* sing, i.e. they don't write any of their own material, or play any instruments. They just sing, and that's it. You can just see them in the recording studio, and the producer says to him or her, "Just sing along to this pre-recorded track, baby, and we'll sell millions!" But I DO make exceptions for "strictly" singers who are unquestionably, without a doubt, 100% *phenomenal* at the microphone, whose passionate voices can instantly grab you & hold your attention, and who can make any song they sing completely their own. Frank Sinatra was such a singer. Tom Jones is such a singer. And, on the female side, German cabaret goddess Ute Lemper is such a singer. Ute Lemper is a magnificent, outstanding vocalist (AND stunningly gorgeous, which doesn't hurt either). Ute completely throws herself at the mike with tremendous passion, sensuality, and presence on every song she sings, quite often within the many characters of these songs. Ute Lemper doesn't just sing, she *performs*. If ever there was a woman who was born to sing, it's Ute Lemper. Her latest album, "But One Day," is quite possibly the best thing she's ever done. She serves up a marvelously sung collection of songs by Weill, Brel, Piazzolla, Heymann and Eisler, AND, in the nicest surprise of all, Lemper herself. She can now add "songwriter" to her list of talents, as she sings five songs of her own, a first for her. Ute's own compositions, including "I Surrender," and "Lena" (featuring Laurie Anderson), are excellent, emotional songs that perfectly showcase what she can do at the mike. And, as Lemper has proved many times before, she also knows how to wrap her silky voice around anything by the likes of Weill, Brel, or Piazzolla, like "Speak Low," "Buenos Aires," and "Amsterdam." The album's arrangements and production are both sparkly, and a perfect match for Lemper's commanding, sultry pipes. With her blossoming songwriting talent, "But One Day" shows tremendous growth for this already-established German diva. It's arguably her best album to date, and her most accessible. If you're interested in checking out the amazing Ute Lemper, this is a wonderful place to start. ... Read more

Amazon.com

When compared with the (sometimes unnecessary) liveliness found on most Gershwin interpretations, Michael Feinstein's Algonquin cool on Michael & George is a bit of a shock. Lacking the bounce found on his first collection of Gershwin tunes (Pure Gershwin), this album of ballads and show tunes is more soothing than dance-ready. Sadly, the liveliest cut features Feinstein singing alongside a Gershwin-played piano roll with a cheesy dubbed MC introducing the music legend, as if the pair were caught in the act of playing today. We live in odd times: thanks to such rolls, ol' George is getting fairly consistent session work backing his fans some six decades after his death. --Jason Verlinde ... Read more

Reviews (17)

Modern and mellow at the expense of heart.
I applaud Feinstein's love of early 20th century music but his style is consistently tepid. Reverence does not equal passion. The song selection here is faultless (except "Swannee"--do we really need songs waxing nostalgic about "mammy"?) but his approach is all wrong. As a vocalist he has a limited range and no sense of swing. If you're going to croon standards add a little personality or passion otherwise don't bother.

The arrangements, which are largely cheesy synth and keyboard textures also mar the whole program dragging the songs down with redundant, pedestrian charts. If you want to hear Gershwin done with the appropriate mix of romance, humor and flair check out Sarah Vaughan's Gershwin Live! This is an '82 Grammy-winning set of classical, jazz, and pop performances. Also Sony Music and Verve have excellent Gershwin collections done by singers ranging from Joe Williams to Aretha Franklin who do this type of material proud. Feinstein needs to regroup and add some energy to his style and please get a new arranger.

Delishious!
I've a confession....before actually purchasing this wonderful cd I had been a 'closeted' Michael Feinstein fan for many years. But, at last, it's time to come out and express my deep rooted admiration for this amazing artist! For years I have respected the work of Micheal Feinstein and upon the release of "Michael & George" thought I might enjoy this as well. Much to my surprise my then "current girlfriend" who generally disliked anything to do with Broadway musicals, actually liked it so much she ended up keeping the copy I eventually purchased before we parted ways. Mmmm...typical! So, seeing how I was beginning to miss having this cd around (which,I'll confess, may be more than I actually missed having HER around!) I quickly bought another copy to add to my collection.

This cd was a slight change of departure for Michael (for convienience sake we'll keep this on a first name basis). While he had previously released two cd's featuring the music of George and Ira Gershwin he had never, up to this point, put out a collection of their songs using a slightly more contemporary approach. And, at the risk of losing any 'street creed' among fellow readers, I applaud him for this inventive approach! If nothing else his choice of using more modern charts actually,for me, enhances my enjoyment of these classic pieces. Michael approaches this cd in a singing style that is subtle, hushed yet also, dare I say,very intimate. His voice has always had such a warm texture and he sings these songs with a certain "playfulness" that is generally missing when performing Gershwin. If there is one problem that I constantly come across when listening to other singers attempt these wonderful tunes it is simply that in many instances they are being "overly sung" by the artist. I'm simply not a fan of "vocal gymnastics! It isn't easy to do but Michael is able to convey more in a quiet, almost imperceptible whisper( see " Embraceable You") than most singers do when 'tackling' a song and beating it to death ( see Celine Dion). The vast majority of these songs were written for musicals and should be sung with a certain,how to say,"Joie De Vivre" but how I wish more singers subscribed to the "less is more" theory when it comes to approaching a piece of music. I think we may all agree that Gerswn's songs are truly strong enough to under go a slight moderation...every now and than. C'mon, these are only songs...not the Ten Commandments!

Overall, I simply adore this cd. Although I know it's a cliche but when he performs "Funny Face", "Embraceable You" and "Lonely Boy" I swear I am hearing these songs for the first time. And when it comes to "Do It Again"...well, let's not go there! This is a wonderful package and if you've been a Gershwin fan as long as I have please give Michael's "Michael & George" a listen. Just promise to listen with an open mind! It's a disc that is at once warm, intimate and oh so sexy. Mmmm....now I wonder what happened to that ex-girlfriend of mine!

Four and One-Half Stars!!

Award Winning Musicality at its Best!
This award-winning album of Gershwin songs is not your standard Feinstein balladeering. He is a master at interpreting these wonderful, old standards. If only he had included my favorite Gershwin, BUT NOT FOR ME; that would have capped it off and made it the most special.

sublime
This is one of the most beautiful albums I've ever listened to. Feinstein truly understands these songs, both thematically and musically, and his renditions have a depth of feeling and emotion that is rarely found in pop music these days.

One of my FAVORITE CD's!!
After reading the other reviews, it seems people either love this CD or hate it. I'm in the former crowd, as this album is one I listen to on a more-than-regular basis! I originally bought it for my mom, and ended up liking it so much, I bought one for me! Michael has taken these tunes (which I have always enjoyed) and made them into thoroughy modern, smooth, and totally romantic pieces. I especially enjoy "Do It Again" and "Love Walked In." This is one of the best CDs to listen to with your special someone. "You won't regret it--come and get it"!! ... Read more

Reviews (7)

The ORIGINAL Diana Krall!!!
Julie London is the picture of class and elegance, and sounds so refined yet sensious! Even jazz critic Scott Yanow gave this a good review on the Allmusic guide. This is a great cd with arrangemets by Russ Garcia(of Fantastica: music fro mouter space), his arrangements are PURRFECT for Miss London. A greta set!

A long-lost London classic, now on CD
I grew up during the 1950s listening to Julie sing the blues on my father's hi-fi, while admiring those album covers. Until the release of this remastered album on CD in 2002, the only copies available were badly scratched albums, if you could find one. Most of her albums were recorded for Liberty, but Capital Jazz acquired the rights and master for this gem. You could say this album is "blues noir". These tracks were recorded between 1956 and 1957. Stereo was not yet prevalent in recording, and sadly this is a mono disc. One can only imagine what it would sound like in digitally remastered Stereo! Nevertheless, this is a must have. The liner notes to the album were written by James Gavin, author of the biography on Chet Baker, and make great reading while you are listening to Julie sing About the Blues.

Julie has a right to sing the blues
With her smoky, subtle vocal talent, Julie London has the right to sing the blues and she proves it on the superb disc. Produced by her husband Bobby Troup, London is first-rate from her take of Basin Street Blues to her last, Dark, which was released only as a single. For most of these tunes, she's backed by orchestrations arranged by Russ Garcia, a little-known arranger who worked with Anita O'Day among others. Twelve of the 16 tracks run less than three minutes, but London knows how to make a two and a half minute tune as melancholy can be.

songs with sexuality
Much as I like to newer Jazz chantueses, Diana Krall, Cassandra Wilson, Jane Monheit, Patricia Barber, they really can't hold a candle to Julie London. He voice oozes pure, hot, sticky .... She makes you feel the blues.

Yeah, I'd like to hear her with a smaller combo, but this is a great album with a large orchestra. Some clever songs I'd never heard before.

And a good price too.

One's of Julie's masterpieces
"About the Blues" is a stunning album, Julie's fourth and her step out of being an intimate novelty, a whisperer, into being a full-bodied singer and a jazz singer at that. The songs are terrific, Russ Garcia's arrangements intriguing and Julie is seductive, persuasive and hypnotic. As with all Julie covers, the art is magnificent--she was such a beauty. In real life, off the album covers, Julie was a stay-at-home, a voracious reader and a devoted wife and mom. She was much beloved by the jazz musicians in Los Angeles for being very hip and very congenial. They considered her an excellent musician, too. She sold zillions of records for Liberty. The added tracks are a revelation, singles practically no one has heard until now that fit perfectly in with the album. ... Read more

Reviews (1)

THE FIRST NOEL ... ALWAYS AND EVER!
Celebrating Noel all year 'round? We can here the skeptics grumbling "Bah, humbug!" Yet pour the champagne and pop open the caviar because the best of Noel --- Noel Coward that is --- has finally made it to CD. DRG Records has given Cowardophiles a most welcome gift: the 1955 Noel Coward at Las Vegas, and the 1957 follow-up recording, Noel Coward in New York. One listen and you'll understand why playwright Terence Rattigan was hardly cowardly when he said: "Noel Coward is simply a phenomenon --- and one that is unlikely to occur ever again in theatre history." To be sure, Coward is more than a performer. He is also an important composer and lyricist; for the stage, he has created brilliant and absorbing comedies (Private Lives, Hay Fever), musicals (Calvacade, Bittersweet) and dramas (The Vortex, This Was a Man). He has also written a vast number of short stories, a novel, a few TV shows, even a ballet. He was an intimate of everyone worth knowing --- from Churchill to Kennedy, from Dietrich to Garland, from Maugham to Chaplin. For more than five decades, Coward consistently recreated his cool, British persona into an au courant, up-to-the minute, infinitely successful show-biz mogul. And it must be noted that he did this all by himself, with no handlers, no press agents or lawyers or managers to aid, help or protect. The Las Vegas show, recorded live, is an astounding accomplishment considering the conservatism and blandness of the Eisenhower era. The songs span the decades from the '20s ("Dance, Little Lady") to material written just for Vegas, like the incomparable "Nina," about the only Argentinean lady who refuses to dance. One of the more remarkable things about this recording, however, is the manner in which the audience feasts on each and every morsel the performer sets before them. Shrieks of laughter and deafening applause greet each song and comment. The art of the cabaret performer has fallen into deep decline and of this art Coward is undoubtedly the master, but the audience of almost 50 years ago seems infinitely hipper, faster and more intelligent than those hordes that drag themselves slovenly to theaters, nightclubs and concert halls of today ... with forced-fed reminders to 'please silence all cell phones and pagers' --- and then still hearing them go off. The New York gem is a studio recording, and, although lacking the spontaneity of a live audience, it presents Coward with a greater variety of his material, brilliantly performed. From the faux sophistication of "Marvelous Party" to the hysterical paean to show-biz angst "Why Must the Show Go On?," the wit and wonder of his words are, as always, extraordinary to behold. But in the bittersweet "Sail Away" and the haunting "Twentieth Century Blues," Coward's true power, not only as a brilliant composer/lyricist but also as the best interpreter of his own material, shines dazzlingly. Coward died at his beloved Jamaican estate in 1973. He was 74. All these years later, he remains, as his good friend Dietrich referred to him, "a master." If we can't experience the likes of him today --- sorry Bobby, but even you fall Short --- at least we have these new CDs presenting him at his best ... now every day can seem like Christmas with some Noel to share. ... Read more

Reviews (18)

Timeless, the best of her work.
This was the first of Jane's albums I heard. The clarity of her voice, the haunting emotion, touched something inside me. Dark, sometimes, but there is something uplifting about what she does with a song. On covers, she's terrific. On original songs and allowed to let her voice flow, she's incredible.

This is by far my favorite rendition of Enchanted Evening. Having been in the audience at a small music hall, there is more to her fluid voice than a CD can ever capture. Twenty years have not lessened my wish that she was still recording

A darkly and enchanting evening with a songbird
I went to several Jane Oliver concerts in the 70's. For this young man she was a totally new kind of experience. She did music in a way that I had not heard before but somehow knew of. "First Night" and "Turn Away" are two powerful and poignant ballads. I'll not play a Jane Oliver CD for months and then get into the mood to hear her. All the intensity of hearing Jane for the first time comes back instantly, and I wonder why I haven't been playing her music all along. I'm not as thrilled by Jane's "up" songs as I am by her ballads. Her re-make of "Better Days" is terrible. This song was so beautifully done by Melissa, and had so much potential here. Of course "Vincent" and "Some Enchanted Evening" are blistering in lyrics, vocals and arrangements. Here she becomes that eternal, elusive songbird one cannot get enough of. These two songs came from deep within a hungry, hurting soul with great capacity and in need of great expression. Jane has been said to be the American "Piaf". I don't like either Piaf's voice or style. When Jane is trying to be "French" and "light" she reminds me of Piaf. However, when she becomes that darkly and enchanting songbird of "Vincent" she soars on her own wings, and needs no comparisons to Piaf. If Jane is the American "Piaf", then she is the Piaf I hear in Elaine Paige's studio "Piaf" (Jane should do this kind of recording). I so wish she would record again.

Replaced this cd over an over again
Jane Olivor's voice is absolutely transfixing. She massages a song for all it's worth. These melodies are all delicious and she makes the most of them all.

"My First Night Alone Without You" is a ballad by which to measure all ballads. "Come Softly to Me" is gently uptempo but she still manages to extract every bit of emotion out of the lyrics.

"Morning Noon and Nighttime" is another winner of a slightly more uptempo ballad.

"Better Days" and "Carousel of Love" are two of my all time favorite pop songs. Uptempo, genuine and optimistic.

"L'Important C'est La Rose", "One More Ride on the Merry Go Round", and "Turn Away" are all strong melodies too with just enough arrangement and mood.

She also covers "Vincent" and it is the only version of this song other than the original by Don McClean that I have enjoyed. She captures the pain in the lyrics and handles the mood with all the right intensity in all the right places but also has the pitch perfect vocals necessary to hold true to the melody all the way through.

Jason Darrow produced this cd so perfectly. Each sound heightens everything from her voice. This is a necessary cd to own.

I am ecstatic she will be releasing a new cd this month. Her first two cd's astounded me (this one and "Chasing Rainbows"). I owned them both at their release in the seventies.

Jane Oliver In Concert
I first heard Jane Oliver in the 1970's and was immediately captivated by her voice. To me it is like honey dropping into a nice warm cup of tea. I have looked in vain in record stores to find her recordings, and all they have is stuff like Madonna, Janet Jackson, etc. who purport to be singers?? They have no melody you can follow, just yelling!

I was thrilled to find Jane's records are still available on this website, CDNow, although Amazon has acquired it. Thank you for continuing to offer great artists such as Jane Oliver and Johnny Mathis, and at a reasonable price! These are my opinions, they may not agree with others who like the above-mentioned "so-called artists"??

DYNAMIC
Jane Olivor has a mesmerizing voice that makes you want to come back again and again for her music. The emotions she reveals through her singing, mimic my own thoughts and emotions about love, with its ups and downs. Brings back sad as well as wonderful memories. Wonderful and diversified choice of songs. ... Read more

Reviews (8)

The Best Side of Jane Olivor
Although the solid fan base of Jane Olivor's voice and music were not as inticed by this release as her earlier gems, those who appreciate a more "mainstream" or "commercial" sound will probably find this album quite to their liking. The album was intentionally produced by various music industry standouts in that vein. Unfortunately, despite it having the highest Billboard chart position of any of her albums (#58), it was not what the bulk of her following expected of her. Randy Edelman's "Don't Let Go Of Me" is a perfect pop arrangement despite it's poor single performance (peaking at #108 on Billboard's "Bubbling Under" chart), and Peter ["Do You Wanna Make Love - or do you just wanna fool around"] McCann's "Love This Time" is an absolute pop standout. Crystal Gayle later made "A Long And Lasting Love" a smash hit, but Jane's relatively unknown version outshines it. "The Greatest Love Of All" (first recorded by George Benson; both versions overshadowed by Whitney Houston's later smash) is a magnificent vehicle for Olivor's vocal interpretation. The title track is also one of Jane's standout cuts. The collection of material is well-rounded to fit it's purpose, and had it received the airplay attention it deserved, could easily have pushed Jane's career into a different direction - not that that would have been so necessarily desirable to her followers, but that it would have given Jane Olivor the platform and recognition she truly deserves. From the same time frame, the superb 1979 duet with Johnny Mathis "The Last Time I Felt Like This" (from the motion picture "Same Time Next Year") is unfortunately not present here - one has to look through the Mathis catalogue to obtain that one. But it is well worth it. Jane wraps around the melody line and lyric - as if her voice were a stringed instrument - like no other before or since.

Not my favorite but her style and voice deserve no less
Jane started to go pop on this LP. Something wasn't the same on this collection as it was on her previous three LP's. With that said there are still some Jane Oliver standouts. "Weeping Willows, Cattails" is really a lovely song. Voice, lyrics and arrangements compliment and enhance one another. "To Love Again" is one of my favorite songs. First heard it by Diana Ross. The French weaves nicely with the English. One of Jane's best songs. Good as anything on her first three LP's. "The Best Side Of Goodbye" stands out but still isn't as strong as her earlier music. "The Greatest Love Of All" is a hard song to do wrong. Jane's version was the first I heard and it was love at first sound. I really would buy this cd just for this song.

Jane Oliver's contribution to music may be lacking in quantity but subperb and sublime in quality. If voice can have genius then Jane is its voice. If I were a songwriter I would first contact Jane to record my lyrics and music.

As I mentioned on another review of Jane's music, where is the duet with Mathis on an Oliver cd? "Last Time I Felt This Way" is perhaps the best duet in the past forty years. Give it to us on a Jane Oliver cd. I'll buy the cd for just that one song. After all, it was Jane's voice and contribution that made this song what is was.

a singers' singer
This is simply a true artistic gem of a cd. Her voice and interpretations are awesome. Very glad to have found this on cd!! Best are the title cut. "love this time", "greatest love", "long and lasting love" - they all bring you to a better place!

The Best Side Of Jane Olivor
Back in the late 70's, I worked in a record store during college. One evening,due either to divine inspiration or complete boredom, I decided to open and listen to an album by an unknown (to me) artist named Jane Olivor. I was immediately captivated by the unmistakable talent pouring out of the stereo.

"The Best Side Of Goodbye" was released in 1980, and showcases Olivor's voice. The material is good, although not spectacular, and comes from a diverse group of songwriters. Highlights include songs "Don't Let Go Of Me," "Vagabond", and "A Long and Lasting Love," but she really shines on two heartbreakingly beautiful ballads: the title song, and "Love This Time" ("They say one lover loves the other more, the kind of love that you've been waiting for.")

"The Best Side Of Goodbye" falls short of a 5 star recording, more due to the song selections than to the artist's ability. Plus, I can't help comparing this CD to that first lp, "Stay The Night." "Stay The Night" is a great album, and it's a shame that it's not available on CD as well.

Fully orchestrated and dynamic love songs
Praised by the critics and shunned by the public, The Best Side of Goodbye is a jewel in the cutout bin. A description of Jane Olivor that I once read stated, "a voice that could peel the paint off the walls." For a popular music songtress, Jane has powerful voice with excellent range. She steps up and down octaves effortlessly (To Love Again). She also changes her pitch from line to line, and sometimes several times within the same line (Manchild Lullaby). Her voice sounds "trained" - perhaps a bit too close to operatic perfection for a popular singer. Recording quality: For an original analog master, the Best Side CD is above average quality. Jane is close-miked. You can distinguish every detail including the sound of her lips touching (Weeping Willows, Cattails).

The Best Side is a collection of fully orchestrated and dynamic love songs (Manchild Lullaby, A Long and Lasting Love, Don't Let Go Of Me, and The Best Side of Goodbye) as well as quieter material. The best side of The Best Side is the more sparse material (Golden Pony; Weeping Willows, Cattails; To Love Again). These underproduced compositions give Jane's splendid voice extra room to shine. My advice is to buy the paint before auditioning The Best Side of Goodbye. ... Read more

Reviews (1)

Last Place To Start
If you're thinking of dipping your toe into the tumultuous waters of Nina Simone's artistry then you're making a good decision, but whatever you do don't start here. This is for completists and fanatics only. (Try my favourite single album "Baltimore" perhaps, or one of the many credible compilations such as "Sugar In My Bowl - The Very Best Of 1967-1972").

There is virtually no information provided on this release to tell us who to blame for what claims to be of 2004 quality standard, but let's be charitable and assume the problem lies with the original live recordings rather than a hapless remastering engineer. Either way the sound is dreadful. As if it was recorded on tin cans, or recorded in a tin shed. Nina's vocals are approaching inaudible. The temptation of hearing her sing Sandy Denny's "Who Knows Where The Time Goes" led to a bitter disappointment, and the muffled sound of "Young, Gifted, and Black" will make you wonder (yet again) how the record companies keep managing to beguile that money out of your wallet.

Nina Simone is a major artist; this is a major disappointment. ... Read more