Reviews (40)

So Wrong!!! Patsy Cline fans beware!
I admit I am not up-to-date about what artist is signed with what label, so I must assume that all of the artists included on this CD are MCA artists appointed to make the project more cost-efficient; that would be the only acceptable excuse for this collection. Where are the women who can really do a good Patsy Cline cover? Dolly Parton...Loretta Lynn...Emmylou Harris...Juice Newton...Rosanne Cash...Lucinda Williams? Nowhere to be seen. Bad call, MCA Records.

Natalie Cole delivers an unforgivably bad version of "I Fall To Pieces," and Norah Jones (who I usually enjoy) performs a flat, emotionless reading of "Why Can't He Be You." And luminary k.d. lang (once purported to be the "new Patsy Cline") is D.O.A. with her hapless rendition of "Leavin' On Your Mind."

On the converse, Amy Grant, Terri Clark and Michelle Branch defy the odds and deliver the three best recordings. These three artists bring aspects to the songs that the other artists ignore completely: personality, a sense of humor, and emotional attachment to the song.

Overall, this is a fair collection at best. Take the money you might have spent on this CD and pick up the newly remastered "Patsy Cline's Greatest Hits" CD. It's worth its weight in gold.

Good intentions, but BAD (very bad) CD
This CD was so bad it should have been called "So Wrong"! I was impressed by the parings of the songs and the artists. they seemed an interesting and good match. Nothing could have been further from the truth. Patty Griffin had the best track on the album, Diana Krall, Norah Jones and Amy Grant turn in OK performances. Yet all the performances still sound like the artists are just repeating words - not singing a Patsy Cline tribute. Most of the remaining songs are PAINFUL to lisen to - overproduced and overblown and downright awful. (NOTE: I tried to give this zero (0) stars, but was forced to give it one (1) star by Amazon's website.)

It is not Patsy and that is okay.
If you are expecting these songs to sound like Patsy Cline then you will be dissappointed but if you are looking for a fresh approach to her music then look no further. Each artist brings their own style to the song they have chosen to sing in honor of Patsy Cline. That is what I appreciate about each song on this CD. Start with an open mind and enjoy!

Loved It!
This CD should never have been expected to sound like Patsy Cline as some of the negative reviews indicated!! It is a tribute to her memory by very talented female artists. I thoroughly enjoyed each artist's interpretation and truly appreciate the artistic freedom each was granted in the recording studio. Everyone I have given this to has embraced it with the same enthusiasm and fondness! I think it's just great and I love it more each and every time I play it.

Mixed review
I can understand why this CD is rated 3 stars by most people, just because it was sung by another singer!

To me personally, there are good and bad songs in this CD.
My infatuation to Diana's rendition on Crazy is totally heartfelt. Queen of Jazz has done it again. Her style of singing is the same like the original.

Kudos to Michelle Branch for her rendition on Strange. No doubt, her voice is different in particular, I reasonably feel, Strange is excellent!

Other noticeble tracks includes Back in Baby's Arm by Amy Grant and Why Can't He Be You by Norah Jones.

This CD could be a 5-star if songs and singers were carefully chosen.

Buy this CD if you like a new version of Patsy Cline otherwise dont even think about it! ... Read more

Album Description

2003 compilation, the most complete ever, featuring 40remastered tracks including five previously unreleasedtracks recorded during the 'Les Marquises' sessions,'L'Amour Est Mort', 'La Cathedrale', 'Mai 40', 'SansExigences' & 'Avec Elegance'. Universal. ... Read more

Reviews (3)

C'est tres tres belle
You don't need to know French to know what that means and you don't need to know French to know how good this music really is as it is as powerful as you can get. Worth having in your collection. Bon ecoutant mes amis ( good listening my friends )

Infinitely Great Brel Compilation with 5 Unpublished songs
Come on, all you French majors, you students of French from beginner to advanced, put down your boring grammar books, your homework, your dusty old Ronsard and actually enjoy yourself. Treat yourself to one of the most thrilling singer/songwriters that ever walked the planet and his latest CD compilation, 25 years after he dropped the body.
The five unpublished songs, outtakes of his last album, are here at last. The whimsical "La Cathedrale" where the anti-clerical Brel finally finds a use for a Cathedral--he dreams it into a sailing ship, sees the world and finds it beautiful. " Mai 40", where to the swinging sound of 40's Big Band music, he recalls the war's destruction and the awakening of his Belgitude. "L'Amour est Mort" which the French press satirized as a song so depressing it might incite suicide, actually reminds the lovers for whom the wine has gone sour that they once loved and enjoyed each other. "Sans Exigences" is another song of love gone bad, somber in tone with an organ behind it. The narrator in the first person is treated with contempt and indifference by his partner, is not bold enough to complain, and is finally deserted. Brel wanted this piece on his last album but somehow it didn't get there. "Avec Elegance" has a wryly satirical ring to it like "Les Paumés de Petit Matin. " These 50-ish people are despairing, but always with elegance, as if despair is some kind of fashionable pose.
.The other songs are a "best of" available on many other albums with the exception of the gorgeous ballad L'Enfance written for the last film he directed, Le Far West. It's great to have all these songs together in one place sounding so clear and true in the new High Definition CD. Chilling to hear Brel draw breath into his remaining usable lung as he sings of the heartbreak of the parting lovers in "Orly" Exhilarating to hear the majestic brass that builds the intensity of this masterpiece. You hear things you never noticed before. "Orly" is still "Orly" only more so.
In sum, this is a great set. You won't regret owning it whether you already have a lot of Brel or not.

Thank you famille Brel!
On Brel's last record there were 12 songs, five more were completed but not released. I knew they exist somewhere because the lyrics are in my 'Tout Brel' -book. And 26 years later, finally, they are here! 'L'amour est mort' is already a new favourite song for me : )All the songs are remastered and the sound is clear and crisp like winter's day, which is already a good reason to release a new collection from Brel's recordings. So my thanks to Brel family for giving these!

Note: The list of songs given above isn't right: 'Fanette', 'Grand Jacques', 'Les remparts de Varsovie', 'L'ivrogne' and 'Une ile' don't exist on my record - which is a shame, since 'Fanette' is one of his most beautiful songs, 'Une ile' absolutely euphoric and 'L'ivrogne', a very theatrical, wonderful song.

Instead there are 'La ville s'endormait' (and that's good, it really is a wonderful song and Brel's voice sounds really beautiful), 'La biére', 'Le diable' (also a good choice from the early years), 'Il nous faut regarder' from the same time as 'Le diable', and 'Je suis un soir d'été'.

The most important thing is, that there are the good ones: 'Amsterdam' as the live recording, 'Ne me quitte pas' really beautifully remastered, 'Madeleine', 'Vesoul', 'La chanson des vieux amants', 'Le dernier repas', 'Les bourgeois' and so on and so on. I suppose two early recordings have been included to give a fuller picture of Brel's production. And they sound good, much cleaner than on another record I have. But if one can hope... From the late 50's I would have wanted 'Sur la place' or 'S'il te faut' - and of course 'Seul' and 'La tendresse'. And I do have a weakness for Brel's tangos, such as 'Rosa' and 'Knokke-le-Zoute'. Well, I'm a Finn, after all... But if this record starts a passion - and it very well might do it! - you can find collections of these early recordings ('Grand Jacques' and 'La valse a mille temps') and be pleasently surprised as I was today, when I got this record.

This is absolutely nine stars ***** ****! If I could have changed just a couple of songs, it would be ten, but as it is it's still above the usual five stars given for good records and movies. This is immortal! ... Read more

Reviews (12)

The previously unpublished Gershwin is a bonus here
Michael Feinstein worked with Ira Gershwin during the last six years of the elder Gershwin's life and this helped form a bond between him and the musical legends.

His first Gershwin album was a pianist's tribute, and quite good. This album being vocal is a welcome addition indeed. We hear the familiar songs such as "Someone To Watch Over Me", "Fascinating Rhythm", "They Can't Take That Away From Me," but more importantly, he introduces a number of previously unpublished songs. "Ask Me Again", "For You, For Me", "Luckiest Man In The World", all are noteworthy.

Feinstein has a large range, and ability to encompass several styles. On "A Foggy Day", one may well recall Fred Astaire. Basically, though, his interpretaion is his own.

This CD is especially recommended for those with a Gershwin collection as well as those who are seeking to develop such a collection.

Michael makes you feel like you've heard a Broadway Show
The rich orchestration and clear as a bell sound quality of this CD is impressive. The Gershwin tunes are classics interpreted by a unique artist who just keeps getting better. It leaves you with a smile and the feeling that you've just stepped out of a hit Broadway Show. If you love Bennett and Sinatra, this Feinstein collection brings a fresh, lively sound to the whole family. The biggest surprise was discovering my teenagers and their friends loved it too. Now I have to beg my kids to give me back my CD.

Nobody does it like Feinstein...
If you get only one Feinstein CD, make it this one. Each lovingly presented track stands on its own. Most of the songs are accompanied with lush and imaginative orchestrations, some with Michael at the piano. Those are the ones whose sweet simplicity will stay with you the longest. My two favorites are "For You, For Me, Forevermore", and the very obscure "Will You Remember Me?" both of which are hauntingly beautiful. Michael has the rare gift of making you feel that he is singing only to you. If you ever have the opportunity to see him perform live, grab it. He is funny, charming, and loves his audiences.

No one does Gershwin better......!
This is a wonderful compilation of songs to accompany his book, also titled NICE WORK IF YOU CAN GET IT. It is worth having in a Feinstein collection. As usual, he does his best on his (and every) album.

One of his best
Michael Feinstein is one of the best singers I have ever heard. He knows his craft exceptionally well. His respect for the popular composers of the earlier twentieth century keeps alive a lot of songs that are to me vastly superior in quality than anything being composed today. Nice Work If You Can Get It is one of his best. A tribute to the Gershwins, it features a number of interpretations that are original and exceptionally well performed. Listen for the subtle nuances in how he phrases, when he uses the power of his voice and when he backs off and sings a line more gently. He possesses a range of singing techniques that most others lack. Very impressive. Buy this! ... Read more

Album Description

Julie Dexter’s latest creative gem and first full album is entitled, "Dexterity." Infusing the fundamental elements of soul, reggae and classical jazz, "Dexterity" is a heartfelt journey towards a musical destination that is both sublime and accessible. ... Read more

Reviews (10)

Like India.arie, Jill Scott, Erykah, Jazzhole, Musiq? Julie!
Julie Dexter is arguably the best new artist I've discovered in the past two years. Her voice is exciting and creative and unique. Neo-soul fans and those who love creative R&B with fantastic and expressive vocals should definitely check out her music.

Who to compare her to? Jill Scott's music ("Who is Jill Scott? 2000) comes the closest to Julie Dexter's style and voice. India.arie or Jazzhole comes next closest. The layered voices and harmonies in songs like "catch a vibe" don't fit into any of ClearChannel's or SagaCommunications' pre-conceived marketing demographic niches well enough to ever be played on mega-monopoly radio stations. But then India.arie's "Video" has made it onto the airwaves, so who knows?

Julie Dexter is funky like Erykah Badu and Jill Scott, though without the harder edge of musicians who draw more from hip-hop music. Her songs feels very contemporary and urban without the hip-hop influence that so many neo-soul artists have paired with classic soul and R&B vocal skills. And the reggae flavor is part of what make's Julie's style distinct from all these others.

Like Jazzhole her singing makes you think of jazz - yet her music is more upbeat, has a little more percussion and has more energy or "forward motion" than most jazz. I'm not crazy about most jazz (I like music that's more exciting and catchy and less "soothing" than most jazz - with more R&B/hip-hop influence), however those who love vocal jazz will definitely appreciate her marvelous voice.

I notice that the label is KETCHAVIBE RECORDS and Julie Dexter and Ken Stone are the producers of this CD, so this CD is about as "indie" as you can get! (one of her songs is "Catch a Vibe" - obviously this is a venture created specifically to get her music out). Yet another reason she will never get played by ClearChannel or Saga....no major record label with pockets deep enough to cut backroom payback deals for playtime. So you gotta spread the news by word of mouth: Julie Dexter is kickin'!!!

Another wonderful CD by Julie!
Ok. Granted her first CD wasn't actually a full length album, as this CD contains almost every song except "Peace of mind". However, this CD is truly great. I've been a casual fan of Reggae for quite sometime. I love Julie's band and their range of music that they play. One song they'll go from a fast tempo such as in "Ketch a vibe" and then go to a song with the "Islands" flavor such as "How can you feel". It really is a welcomed pleasure to hear. There are all sorts of elements to Julie Dexter such as the Reggae flavor that she hits you with and then she can hit you with an African type feel and then a Jazzy sort of flavor. I can't really say that I disliked any of the songs. If this is her beginning, then her future should be bright as she has one of the best "pure" music CD's that I've heard in a while. Having a live band helps and with Julie's excellent voice, she should get noticed a lot more!

Interesting!
I had heard a lot about Julie through friends who had been to her live shows. The album didn't stand up to the hype for me. I give her credit for putting together a bold blend of genres reggae, funk, soul and jazz, but it's been done before to greater effect. I will wait for the live album.

Lovin' this CD to death!!!
Usually good CDs have to pass my clean up test. If I can listen to it while cleaning and actually hate to finish cleaning because the music is so good, then its a good CD. Well this one has passed that test with flying colors!! I brought the CD to work today and I'm listening to it right now on a headset (which is SO not me because of the lack of a professional look), but I just had to groove to her today. The music is so SMOOOOOth and so are the vocals. Some songs have more jazz with vocals, then there are some that have just enough of a slight reggae beat to keep you feeling irie. Then there are others with just enough smooth R&B to make you want to scream! Because you know a secret and you want to tell everybody! Her singing and the production is very unforced. She blows up everyone on the R&B and jazz scene right now. I get just the perfect balance with this CD!

I'm just not feeling it...
I'm giving this CD 3 stars, but I don't know if I should. I'm simply not impressed with Dexterity. I bought this CD because the reviews for "Peace of Mind" were so wonderful. I was aware that Dexterity encomposed all of the songs on "Peace of Mind" and then some, so I opted for the CD with more songs. ANYHOW, I am just not feeling this CD. I've listened to it about 4 times, and I just don't think that I'll be able to do it again. Her voice is a little bit irritating, and I wish that she'd just go ahead and sing instead of doing that whispery thing. The music is nice, but the whispery soft vocals that are being sung over it makes me wanna "holler". I don't know what everyone's raving about,this cd is not worth the price. Maybe I'm just not getting it.. ... Read more

Amazon.com

North Carolina-born, classically-trained pianist/singer/composer Nina Simone beautifully blended gospel, blues, jazz, soul, and r&b into her own spellbinding, sepia-tinged artistry. This four-CD box set was in production before her untimely death on April 21, 2003. It covers Simone's seven albums for the Philips label from 1964 to 1966, and it's a good synopsis of her wide-ranging material. Mostly backed by trios and orchestras, Simone's rich and regal contralto rings with authority, whether she's singing George Gershwin, Duke Ellington, Jacques Brel's "Ne Me Quitte Pas," or Bob Dylan's "The Ballad of Hollis Brown." Simone makes them all their own. In fact, this project should cause new generations to reevaluate Simon's own compositions beyond her African-American civil rights anthem, "Mississippi Goddam." Her song "Come Ye" and the title track--a four-part, mini-opus which pays tribute to four black women who embody slavery, mixed race heritage, prostitution, and black militancy--are excellent sneak previews of today's Afrocentric movement. --Eugene Holley, Jr. ... Read more

Reviews (4)

Four Women: Nina Simone Philips Recordings Box Set
One cannot think of jazz in the 1960's without thinking of Nina Simone; a dignified and talented singer, pianist and songwriter. This box set includes all 7 albums recorded with the Philips label. From "Don't Smoke In Bed", "Mood Indigo", "Nobody Knows You When You're Down and Out" to "I Loves You, Porgy" you will enjoy taking a stroll down memory lane with all of your favorites by Nina Simone. This is a definate 'must have' for all Nina fans.

essential collection
This is Nina Simone at her consistent best.There are other definitive tunes,ones that she made her own, here and there on other anthologies but no other collection really represents her as well as this.Her piano playing and vocals and the material covered reveal the artist at her most adventurous and at the peak of her powers.This collection shows her probing the boundaries and succeeding more often than not.A great collection.

Unequal;not the Colpix years,but essential moments
Of course,the most essential works by Miss Nina Simone,born Eunice Kathleen Waymon (1933-2003) are included in her Colpix recordings: Nina at Town Hall,Nina at Newport,at the Village Gate,Nina sings Duke Ellington,Nina with strings,Nina at Carnegia Hall,Forbidden Fruit,the amazing Nina Simone:here are the most necessary records by this immense pianist and singer,and simply,here are some of the most essential music of all times.An incredible amount of masterpieces figure in these records.

Following the Colpix years, here are the Philips years,covering years 1964 to 1966.The material is much more unequal than during the Colpix years.Some tunes are rather boring.It seems like Nina could record every tune she loved during the Colpix years,and should record the tunes she was ordered to play during the Philips years.Just like Billie,or Fats Waller,25 or 35 years before.
So,here is an unequal set of four CDs;it shouldn't deserve five stars.But here are such terrific masterpieces than,even if a half of the tunes were great ones,the set would deserve this rating.
It is very difficult to review a four CD set,made of 74 tunes,without beeing boring;so,I won't tell you about all these tunes.
I'll just tell you that Nina Simone was ,first,one of the most fascinating and beautiful human beings of the last century,then one of the four most marvelous voices of jazz (with Billie,Dinah,and Lil Green),and one of the most fantastic piano player and musician of all times.When you listen to her,you're listening to a giant in the history of music.A Master.
I'll just tell you that Nina's life was a life of despair and sadness.She was used by men like few female jazz artists were,except Billie.The two greatest jazz singers had the saddest lives you can imagine.I have the greatest respect for these two magnificent women,who were so intelligent,so emotional and so beautiful,and who lived such dark years.They were two of the greatest treasures the world ever had.
Unequal,so why should you buy this set?
Maybe simply, for "the last rose of summer",the last track of CD n°1.An incredibly beautiful southern ballad,in which Nina sings in an outstanding way.For "Mississippi Goddam";and Gershwin's "I love you Porgy",and Duke's "Mood indigo" and "the gals from Joe's",for "work song","four women","if I should lose you","love me or leave me","don't explain","this year's kisses","chauffeur"....
Don't think I'm foolish giving this set five stars,even it's not at the same level as the Colpix records;here are some absolute masterpieces;here are some of the very best of an immense musician (yes,singers are musicians too,and surely some of the best ones);here are some of the highest moments of Miss Nina Simone,who gave us such incredible treasures;the 70 years old woman who died three month ago was one of the major musician in the history of the 20th century's music.
Rest in peace,dear Eunice;and thanks a million for the amazing moments of beauty you gave to the world.

So long, Nina.

Priceless Music!
Recently released, the boxed set of 4 CD's contains all the recordings Nina Simone made for the Philips label from 1964 to 1966. There is also a beautifully written and illustrated book complete with great photographs about this unique artist. Many of the songs we love are on here though unfortunately not all of them since Ms. Simone had not done the BeeGees songs or Dylan at this time. (Or Rod McKuen for that matter. Who else but Nina could make his songs less than syrupy and sentimental?)

There has never been a singer quite like this wonderful artist. There seems to have been no type of song she couldn't sing from "I Loves You, Porgy" to "Mississippi Goddam" to "Nearer Blessed Lord" to "The Last Rose of Summer." When Ms. Simone sang them, she put her own DNA on them and they became her own. Born in North Carolina, Ms. Simone was raised singing in the church and was trained at Julliard as a classical pianist. These CD's illustrate her background and training background so well. Sometimes the piano becomes another voice in a dialogue with the singer rather than a mere accompaniment. She is impossible to categorize-- jazz, gospel, blues, folk, classical- all of the above and then some. So many emotions here: joy, sadness, anger, love.

There is a quotation attributed to Richard Pryor in the booklet accompanying these CD's: "White people had Judy Garland -- We had Nina. ." I'm sure this is a true statement. Nina Simone, thank godness, is loved and revered all over the world by people of all races who love good music-- and believe in freedom.

This CD is a bargain at any price. ... Read more

Amazon.com

Pure Gershwin was Michael Feinstein's first album, and it remains one of his best. It may not have the production values of his later Gershwin tributes, Nice Work if You Can Get It (1996) and Michael & George (1998), but it simply and directly presents Feinstein in his piano-bar days, singing to his own tasteful accompaniments with occasional contributions from bass and drums and a second piano. Establishing the patterns for his later albums, he sings unjustly neglected verses to familiar songs, uncovers some never-before-recorded gems ("The World Is Mine," "What Causes That"), and provides song-by-song notes. Longtime friend Rosemary Clooney guests on "Isn't It a Pity?"--David Horiuchi ... Read more

Reviews (15)

Disappointed
I bought this cd because I am a huge Gershwin enthusiast and am always on the lookout for versions of one of my favorite pieces, "Liza". I'd heard a lot of buzz about Feinstein and the supposed wonderfulness of his Gershwin interpretations, so I thought I would give this album a shot.

I was extremely disappointed. Feinstein seems to suck the life out of Gershwin's compositions, a feat I would have previously thought impossible. Though I concede that vocalists are free to reinterpret songs (many to a great success, as in Louis Armstrong's and Ella Fitzgerals's enjoyable versions of Gershwin), I think Feinstein's lazy tempos "loungy" voice make the tracks on this album boring and annoying.

I have loved to listen to and sing these songs my entire life. I just wanted to warn listeners who perhaps, like myself, enjoy George Gershwin's music for its beautiful clarity and energy (as easily experienced through Gershwin's own recordings, early interpretations by artists such as the Astaires, and even recent broadway "Crazy For You") that they will not experience any feeling of the sort from Michael Feinstein.

Amidst all the gushing that has recently been done over him, I found Michael Feinstein to have attempted to murder "Liza" and the other songs on this album. He merely displays a very unexceptional voice and poor interpretive taste. Fans beware, Feinstein proves that it is possible to make a bad cd of Gershwin songs. I'd recommend listening elsewhere.

Feinstein Really Got the Rythm!
This CD was one of the first record Michael Feinstein made - he was once worked with Ira Gershwin and this CD was a tribute for Ira and his brother George. Many great songs here included: It's Wonderful, Embracable You, He Loves and She Loves, The Girl I Love, and best of all Someone to Watch Over Me. All of these songs were made by the Gershwin brothers and all are great songs! My only grudge with this album is that Michael's voice is not as developed as it is now, but it's probably because he recorded these songs 15 years ago, when he was still in his twenties. Overall, a great CD collection, definetely worth listening for years to come.

Quiet and elegant
Michael Feinstein's thin voice is compensated by his apparent enthusiasm for the material and a spare arrangement of piano, bass, and drum that gives this recording the ambiance of an intimate piano bar. Before hearing this disc, I knew only Gershwin's biggest hits, so many of the numbers here were new to me and increase my appreciation of that great American composer.

they can't take that album away from me
they say the third time's a charm, but in this instance, it is the first time -- michael feinstein's first gershwin album -- that is the charm. this album is by far better and more listenable than the next two -- "feinstein sings gershwin" and "nice work if you can get it".

the listenability of this album may stem from the fact that it is a bare-bones arrangement, with two pianos, a bass and drums, a la a jazz trio, with no embellishment, so michael feinstein's then sincere and unsophisticated voice is the featured instrument.

i heartily recommend this album, as every song on it is a gem and feinstein's voice is more appealing than on the two later albums, when he jazzed it up with what sounds like an echo chamber and other electronic enhancements and he seems to be doing the songs by the numbers.

feinstein's version of "liza," slowed down to ballad form and plaintively phrased, is the best i have ever heard. the duet with rosemary clooney on "isn't it a pity," again brings out the best of feinstein's then-new voice and shows why george's (clooney) aunt is rightfully considered a jazz legend.

the combined "he loves and she loves/how long has this been going on" is another melodic/poignant highlight, while the album's finale, "someone to watch over me," is a stirring anthem to wanting and needing someone and is done with vocal and instrumental passion; it brings this collection of songs to a fitting crescendo.

for a lawyer's kid from columbus, ohio who started out cataloguing gershwin estate material for the reclusive ira and then began singing the songs for family and friends, michael feinstein has done all right for himself. he has become the recognized interpreter of the gershwin legacy, sort of the same way his pseudo-cousin, john, jr. feinstein, has become the recognized interpreter of the bob knight legacy... .

michael feinstein may have hit a home run his first time up with this album, and it may be his best, as it is the purest and most joyful celebration of gershwin tunes, while the others are fancier, more jazzed up and ponderous and less appealing.

the other albums are certainly not bad, though, and i recommend buying them to fill out a feinstein or gershwin collection, but this one is by far the best one to get if you are only going to get one as a sample of either's work. it is nice work, and you can get it.

Wonderful songs, tastefully done
I'm surprised to read a few less than positive reviews of this album, but to each his own, I guess. This is one of my very favorites out of a fairly extensive collection of jazz classics. Michael Feinstein's love for and knowledge of this music shines through every tune. I would contrast this with the work of Harry Connick, Jr, a more recognized name, whose performances always seem to me to be more about Harry Connick, Jr., than about the music. In this album, Feinstein lets the music speak for itself. His very understated vocals and tasteful piano work give the music room to breathe. The lovely reading of "Liza" is worth the price of the CD all on its own. ... Read more

Reviews (3)

Not really the best
Great songs and great singers, but really not the best recordings in a lot of cases. This will make you wish for the better recordings you know you've heard, and not really increase your respect for some of the singers.
Also, most of the tracks are very slow - mellow and bluesy. Not really what I think of when I hear "torch songs", nor is "Somewhere Over the Rainbow."

Love Songs from the Best Female Singers
A torch song is a senitmental love song, usually about an unrequited love. The 18 songs on this album offer some of the best examples of this beautiful type of music with a wide range of female singers, from Ella Fitzgerald, Judy Garland, Lena Horne and Peggy Lee to Linda Ronstadt, Aretha Franklin, Etta James and Carly Simon. All the songs are classics, including Dinah Washington's "What a Diff'rence a Day Makes," Lena Horne's "Stormy Weather," Patsy Cline's "Crazy," Linda Ronstadt's "My Old Flame" and some signature songs, as well, such as "La Vie en Rose" by Edith Piaf and "Over the Rainbow" by an older Judy Garland. When these ladies sing, you can feel the love and the pain in their voices. A truly wonderful CD that is highly recommended to all music fans!!

Torch Songs ~ Various Artists
If you love Nora Jones & torch music, then you will love this one and want to add it to your collection. ... Read more

Amazon.com

It's certainly been a wait: 18 years, in fact, since vocalist Jane Olivor released her last record, In Concert. In 1982, after a meteoric rise that even involved teaming up with her idol Johnny Mathis for a hit duet, Olivor decided to take a break from the building pressures of stardom; much to the chagrin of her growing fan base, the time off mysteriously continued to tick away, in the process seeming to cut off a legendary career in the making. A very tentative--though enthusiastically received--comeback began in the early '90s with some live concerts but is now boldly proclaimed with this release. With producer Steve Abbaddo--who's fond of interweaving acoustical with ethereally tinged electronic sound tapestries--at the control knobs, Olivor continues to infuse the ballads and uptempo numbers of Love Decides with her signature warmth and passion. There are still many moments that tempt inevitable comparisons with Streisand, but Olivor's deeply personal, completely felt stylings are all her own. On "Half Heaven, Half Heartache," for example, Olivor's soulfulness imbues the standard with a fresh immediacy (she's joined on backup by Gene Pitney himself). Let's hope this immensely gifted interpreter doesn't keep us waiting this long till the next one. --Thomas May ... Read more

Reviews (58)

Love Decided! Finally!
O.K., I may not be the most objective reviewer when it comes to Jane Olivor, I think she could sing the phone book and I'd be happy! I am so excited about this new CD. After 18 years her voice is still like crystal,the arrangements are lovely and no one chooses songs the way Jane does. I was especially touched by "I Had This Man" because it is such a personal story. All of Jane's songs feel personal, however. She sings with such tenderness and intimacy. If you've never heard her, do yourself a favor and listen. There is nothing out there that can compare to her music. Thank you for this wonderful gift Jane, I have missed you terribly.

Great to Have Her Back
Anyone who was a Jane Olivor fan in the late 70's and early 80's must be thrilled to see Ms. Olivor's first recording in 18 years. And it is a CD that doesn't disappoint; the impeccable phrasing, the heartfelt emotion, the subtle and at the same time strong vocals--all are still here. Jane Olivor sounds as good as ever. She has always possessed the power to make even the simplest lyric take on a new depth of meaning--think back to her cover of the Chiffons' "He's So Fine" or Donovan's "Lalena." She works that same magic with her current CD. The old Gene Pitney hit--with harmony vocals by Gene himself--"Half Heaven, Half Heartache," is one of the standouts on this release. Likewise, Ms. Olivor's cover of the October Project's "Bury My Lovely" equals the beauty of the original. "Colors of the Wind" can sound trite sung by some vocalists, but Jane makes it her own and in the process will give a new appreciation for the song. Other great tracks include "Warm, However Dark the Night," and the title track. Those of us who are fans can only hope that we will not have to wait another 18 years for a follow-up CD. Let's hope, too, that we will have the chance to hear Jane Olivor perform these songs for us in concert soon. Jane Olivor is an amazing talent, many of you already know that. If you do not, this CD will easily convince you--and you will be a new fan.

Worth every min. of the 18 yr. wait!
The title of this CD should reflect some of the reasons Jane took time off in between her recordings, but somehow it's lost in the title, but made up for in quality. Jane's husband lost his battle with Cancer and she needed time away from her obligations as a live performer (and studio artist) in order to be by his side ...
While the end result of her hiatus is saddening, she's pleased all of her fans with "LOVE DECIDES," and making bring true to life the meaning of "A set back is a set up for a come back!" Her 1/2 Heaven duet w/Gene gave me goosebumps. The meaning behind "Warm," is the how the love of a special person can make your entire life whole. With amazing grace and beauty (she doesn't age or is aging very well), she's proven her constitution is as powerful as her voice. Her vocal talent is by far superior to ANY contemporary artist I've heard, and she's OBVIOUSLY taken great care of her cords! Never off key, she adds humor to live shows, and is the most humble human "musical instrument" alive today. DO NOT MISS THIS OR ANY OF JANE'S CD'S!

deserves better
Though Ms. Olivor's voice and interpretation is always a complete joy, the material she has to work with in the main in this CD does not allow her extraodinary voice to come through as it should. Also the musical accompaniment had been allowed the same volume as her voice and unfortunate as that is for the quality of the CD, it is more unfortunate that the accompaniment is not very good musically. But despite all this, any work of hers should be bought by those who appreciate the privilege of hearing a great artist now entering her prime of performance..

WELCOME BACK JANE OLIVOR!!
Could it really be possible we waited 18 years for her to record another CD? I purchased this on the mere notion that Jane Olivor recorded a new CD and I was not disappointed! I have loved her since the 70's and when I listen to those CDs I recall such wonderful memories and her voice knows how to wrap around me, hold me tight and make me feel good. This CD does the same thing and is just as wonderful as she was 18 years ago. I just pray she will follow this CD up with more of this style music. It is hard to say which is my favorite as each are different and wonderful in their own right. I like the feelings of Warm and the honesty of Half Heaven Half Heartache and the emotion of I Had This Man speak to me and the truth of Love Decides hits home, and the charm of In This Moment is clever. All stand outs but I cannot narrow it down to a single favorite. So, what am I saying...get this CD!!! ... Read more

Amazon.com

Chicago pianist and vocalist Patricia Barber is making lots of ears burn. Her torch song touch speaks volumes to jazz vocal fanatics, but she has an adventuresome side that speaks likewise to fans of woollier jazz. Barber's vocal delivery is swaggering and burnished, always angling against oddball time signatures and often dropping weird lyrical science. From e.e. cummings poems, Barber moves into prescient observations on our society: "For company in the 21st century," she sings, "I go to the club, talk through the show / I'm so hip there's nothing about jazz / That I don't know." Trumpeter Dave Douglas and guitarist John McLean add a sharp edge, and the Choral Thunder Vocal Choir give Modern Cool soul-drenched dynamics that push the CD into the realm of instant classics. --Andrew Bartlett ... Read more

Reviews (40)

Why is Diana Krall getting all the headlines. . . .
When Patricia Barber can do so much more with a song than Krall does? In light of Krall's new CD garnering headlines, photo shoots, and talk, I thought it was time to give Barber the props she so richly deserves. This is the jazz vocal CD I reach for when I want something edgy, "push-the-envelope," and/or a bit unsettling---not just smooth (or "smooth"), slick, and overproduced. . . . "Touch of Trash," the opener, is a perfect example of that edgy, unsettling sound that she so naturally exudes. "Winter," with its 7/4 time signature, is one of those "this doesn't feel quite exactly right" kind of songs that challenges your brain not to relax too much. The use of e. e. cummings' poetry is very cool to me as a high school English teacher (I play this song to my juniors every year). She takes a song like "Light My Fire" and goes places with it that the Doors never intended (nor could have done). Her piano skills should not be overlooked, either.

This is not a CD of standards, classics, or tributes. This is not a CD of smooth, easy listening, radio-friendly tunes. Barber is not a JVC Jazz Festival kind of artist. This is not a CD you want to try to listen to and appreciate while driving to work. It is a complicated, unique, evocative, intimate, challenging collection of songs that Barber delivers with a passion matched by virtually no one (Cassandra Wilson and Shirley Horn would be her main competitors in my collection).

If you like your jazz "smooth" and want to see a set of legs on the side, buy Diana Krall's new CD (or one of her old ones from me. . .). If you want to be put out of your comfort zone for an hour or so, you'll find that MODERN COOL pays off big time.

To dismiss her as simply being "butch" (as did a reviewer three or four reviews down) really demeans her musicianship and shows that reviewer to be just a bit too safe and naive for someone in Barber's league. Barber does through her singing what Krall can only do by showing a little (or a lot) of leg in a photo shoot. . . .

Brilliant - A Modern Classic
I also own Nightclub and Companion, and they're both great, too, but I've been listening to this one quite a lot in the past two months or so, and it hasn't yet ceased to amaze me. I feel like I need to listen closely 5-10 more times to even begin to appreciate all the nuances. In my opinion, in 50 years we'll see Barber as one of the greats of our time. She is amazingly well rounded -- her voice, pianio playing, composition, arrangements and lyrics are all masterly. Her voice is lovely, her vocal phrasing and Monk-like toying with melody are extremely sophisticated, and unlike most singers who accompany themselves, her piano chops are with the best. Her dark, sardonic mood blends the best of classic blues and jazz with a contemporary approach that out-classes Cassandra Wilson. I'm most impressed on this album w/ her own compositions -- their enchanting lyricism and tight, clever modern melodies -- particularly Company, Let It Rain and Post Modern Blues. Well balanced w/ standards and contemporary covers, including Light My Fire and She's a Lady. Please buy this record.

Love it in 2 bars; keep learning it for 2 decades!
This album is incredible! Give it a spin--just try the on-line samples here at Amazon. You'll be hooked in within two bars of "Touch of Trash." The poetry's inventive, the music sensuous, ambiguous, always dancing from admiration to competition. Then spin another track--it'll be totally different, equally compelling, addictive.

This album has been #1 on my "Desert Island List" since I bought it several years ago. Why? (1) Because it's so good, I can't get enough of it, and yet (2) because it's so intricate, I find new things every time I listen, and most of all (3) because even after practically wearing it out, there are new questions, things I'm not sure I fully understand and appreciate.

You'll love it in two bars. You'll still be learning it in two decades!

It is the Best of Times, It is the Worst of Times...
It is the best of times, it is the worst of times, when Patricia Barber invites us into her "Winter" of discontent. And discontent is the main currency of "Modern Cool": lovers hide from view ("Silent Partner"), razor-blade women mask, market and manipulate ("Touch of Trash"); meanwhile, the artistic world collapses like a house of postcards from the Museum of Contemporary Art ("Postmodern Blues"). Aided by Michael Arnopol, who deftly changes the upright bass from a solid into a liquid before your very ears, and the broken glass guitar phrases of John McLean, it is a harsh world out there and perhaps an even harsher world in here. Modern cool, indeed.

One can almost see this disc as the story of a character who roams the shadows of Orwell's "1984", but has found the methodology not to meet the same fate as Winston. The Doors' raucous "Light My Fire" survives in this world, albeit as a plaintive whisper/prayer, a feeling echoed in "Silent Partner". Peace is found in far and few corners - "Let It Rain", with another grand chorus backing Patricia's dramatic vocals, "You & the Night & The Music", and the wordless yet free "Constantinople." Biting wit breaks up the gloom and doom: "Postmodern Blues" and "Company" are wry - though occasionally self-important - and complex in their modern cool pictures.

The allusions to Dickens and Orwell are not coincidental. Patricia Barber is an author in her own right - she simply uses a piano instead of a pen. In many cases, one does not even need the lyrics (sharp as they are) to have the picture painted.

One suspects "Modern Cool" drained Barber somewhat, as she would follow up this tremendous album with two 'easier' releases - a short-ish live CD and a cover version disc - neither of which (intentionally?) would approach the majesty of this album. But so what? The artist presently known as Patricia delivered one of the strongest and finest recordings of the 1990s, an achievement made all the more stunning by the fact that most of the recording was done in a three-day period in 1998.

Makes many other artists sound like little kids...
Listening to Patricia Barber is in many ways like reading a novel by a superb fiction writer. Once you're done with their book, you simply can't pick up any old thing to read next, because it won't hold up to the comparison. Similarly, if I listen to "Modern Cool" and then put on music by other modern female jazz artists that I do enjoy (I won't name names), they sound like little girls in comparison. "Modern Cool" is stimulating and edgy without being overwhelming or inaccessible. This is music by a woman who is obviously whip-smart and a great observer of and participant in the human experience. ... Read more

Album Details

Outstanding 20 Track Collection from the Late Singer/Songwriter who was One of the Great Treasures of France Given to the World. Each Track is Digitally Remastered for Optimum Sound Quality. ... Read more

Reviews (5)

French singer-songwriter left a wonderful legacy
Gilbert Becaud began his career in the early fifties and was still having big hits occasionally in the eighties in his native France. This 20-track compilation scarcely does justice to him, but it includes all the essentials and will suffice for most people. In France, there is also a 37-track double CD (Encore plus de Becaud) with identical front cover artwork, containing all the songs included here plus 17 others, for those that want to dig a little deeper. Among the extra tracks on that collection is Mustapha Dupont, a controversial song about immigrants.

The tracks here include the two songs that Gilbert is most famous for internationally - Et maintenant (translated into English as What now my love) and Je t'appartiens (translated into English as Let it be me). Another song that was a success following translation is Le jour ou la pluie viendra, recorded by Jane Morgan as The day the rains came - it became a British number one hit for her.

In the sixties, Gilbert had many hits in his homeland. Among those included here are Dimanche a Orly (about his constant touring), Nathalie (one of his most famous songs in France), C'est en Septembre, L'important c'est la rose and Quand il est mort le poet.

Success in the seventies and eighties was less consistent although Gilbert remained popular with songs such as Solitude ca n'existe pas, L'indifference and Desiree.

If you have even a little interest in French music of the sixties, you ought to have at least one Gilbert Becaud album. If you just want a single CD, this is as good as you are likely to find but if you are serious about his music, look for a more comprehensive compilation.

Excellent
I was in Madrid and watching TV I saw Neil Diamond singing September morn. The song was so pretty and he explained he wrote it with the help of a french singer. French? do the french write good songs? Long years after, a friend of mine gave me this CD and I love all the songs. So much, that I decided to start studying french.

The Best of Becaud is among the best of the best
Too bad for so many people who have not yet heard Becaud, worse still fot those who don't understand French. The songs are beautiful and the lyrics match the songs. It's difficult to describe good music well so listen to the samples and learn to appreciate this singer. Et Maintenant is easily one of the best songs if the century anywhere nad Nathalie is no less beautiful and what to say about 'C'est en Septembre'. The music is rich with pinao chords , full orchestra and unique rythms. But his melodies made me write this enthusiastic tribute. Five stars aren't enough.

Meet Glibert Becaud...
Becaud at his best. Nathalie, Je Reviens Te Chercher, L'important C'est La Rose Un Peu D'amour Et D'amitie. Quand Il Est Mort Le Poet.. It's a shame so many people haven't even of this guy.

THE BEST OF GILBERT BECAUD
All the songs are very nice ... Read more

Amazon.com

This greatest-hits collection accompanies Ken Burns's 10-part documentary Jazz and shows that though she never practiced the vocal gymnastics of an Ella Fitzgerald, Billie Holiday was unquestionably among the greatest jazz singers, with a subtle inventiveness in phrasing and note choice and a tremendous capacity to swing. This collection covers virtually the entire career of a fascinating and troubled artist, beginning with her sparkling mid-1930s recordings with pianist Teddy Wilson and the cream of swing-era horn players. While those fresh-voiced early records already indicate Holiday's capacity for conveying the nuances of a lyric, her work soon took on greater drama. "Strange Fruit," a 1939 account of a lynching, marked a breakthrough in the popular song, as well as in Holiday's career, and her controlled intensity only becomes more marked on signature songs like the wistful "God Bless the Child" and the moving "Don't Explain." Holiday's voice deteriorated in the later 1950s, but performances like "Fine and Mellow" show that her emotional power and musicality remained intact. --Stuart Broomer ... Read more

Reviews (25)

New to Holidays? Here's a place to go!
I'm opening new doors with the history of jazz and the finer music that laid some foundations when this was a breaking art form. It's good us jazz neo-phytes have the "Ken Burns" Jazz series spurned from his documentary to get us started. I've got Ella Fitzgerald, John Coltrane, and Billie Holiday, and the Holiday CD is my favorite of the three. It doesn't suffer from the downfall of many career encompassing compilations suffer...that is the need to include lesser works from all periods of the artist's life. This could be because Holiday's tragic life was probably cut down before her time due to her hard lifestyle.

The first two tracks carry an old phonographic hiss, which instead of detracting from the listen, to me quite enhances it. It plays along well with the music from another speakeasy time. It puts me there. The album's strongest track is "Strange Fruit" which is unbelievably sublime in its social consciousness mixed with the art of jazz. This, in my mind, is what elevates Billie Holiday's music above Ella Fitzgerald. Holiday's smoky atmosphere-drenched voice emotes all the pain, all the urgency, all the character, that jazz and blues is known for. Solitude is another sublime track.

Billie Holiday says that, "Blues is kind of a mixed up thing, you just have to feel it" on track 18 "Fine and Mellow". With her beyond exceptional talent, that's just what you end up doing with her music, you feel it right along with her. With the excellent liner notes laying out the events of her life, this CD is an excellent buy. The only problem that remains is, which Ken Burns Jazz CD to get next...will it be Herbie Hancock, Thelonious Monk, Charlie Parker? I'll let you know; meanwhile I'll be listening to this CD. Caio.

Lady Day is Great, CD quality is disappointing
Billie Holiday never fails to astound her fans or captivate new listeners. She is in a league of her own and brings an emotional depth that is rarely felt. The collection of songs in this CD presents some of her work early in her career when her voice still was strong and clear.

I am disappointed to distraction by the engineering of this CD. The hiss in the first tracks is ridiculous. I would expect that a CD with the Ken Burns name on it would be first rate. It is not. The over all quality of this CD is not what a fan of Ken Burns should expect. If I was buying a 38, the sound quality would be unimportant, but I would expect the mastering of the sound on a CD to be first rate.

Great Music, Horrid Sound
I really loved the song selection for this album. It had a nice mix of classics.

Sadly, it seems they found the most horrid copies of these songs on the face of the planet to master from.

Half of the songs are barely listenable the noise levels are so bad. This is quite a shame. I know better copies exist for some of these songs. Perhaps even a run through an electronic noise filter would of helped a lot with these recordings.

If you are a music historian or researcher (or perhaps a recording "purist"), this may be a good CD for you because the performances are brilliant. For the other 99.9% of the people out there, look elsewhere for recordings from one of the most legendary female vocalists of all time. You can find great performances from her that you will fine more sonically enjoyable elsewhere.

Excellent song selection - horrible audio
Heed the warnings other reviewers have given you - the audio quality on the first few tracks is HORRIBLE. Not just marginally bad. Not muted. Not a bit dull. We're talking deafening waves of hiss and the crackle of a 78rpm record amplified to ear (and tweeter) shattering levels.

I don't know what the intention was here. Maybe they were just too cheap to clean these tracks up, or maybe they wanted the experience to be more "authentic". The problem is, none of us are listening to this on an old Victrola. Most of us are probably listening to it on stereo systems manufactured in the last 20 years. On that kind of equipment, un-retouched, worn out discs aren't just low-fi, they're painfully unlistenable. And that's a real pity, because the first few tracks are some of the best on this CD.

Things improve a bit as Holiday's career moves into the era of the LP, but the fidelity is still far from impressive. I've heard Holiday tracks on television amplified through my stereo that sound fantastic in comparison. Clearly, there are better versions out there - ones that help you get closer to and enjoy her legendary performances. Seek out those alternatives.

Skip It
There is nothing definitive about this CD. Neither the song selection, liner notes, photos nor packaging distinguish this product from any other run of the mill "best of" Billie Holliday CD out there. I was sorely disappointed.

The relatively short number of songs span so much time on this "best of" - the arrangements, Billie's voice, recording style, and song quality all vary so drastically - as another reviewer eluded to, you don't get any sense at all why Billie Holliday was important - what made her music so great.

Moreover, as numerous other reviewers have eluded to, the sound quality of the first four tracks is TERRIBLE. Heed their words, because I didn't. I'm no audiophile, but the amount of hiss - which actually sounds like it was ENHANCED on these tracks - makes them utterly unlistenable.

I've heard some of these tracks on other compilations and they sounded fine - there is no reason in the world they need to sound like that. With the sound technology today, you could have made them sound better - and at the very least, not WORSE. What gives? Is it a joke?

Save your money and buy one of the many good anthology/box set CDs - that cover the different "eras" of her recordings - as an introduction to Lady Day. The only real way to be "introduced" to Billie Holliday. The Complete Decca Recordings is Fantastic! I'd give that a 5 star. ... Read more

Album Details

The Greek Chanteuse Takes Adds to her Spanish Repetoire with Boleros and Songs Sung En Espanol. ... Read more

Reviews (3)

Stunning!
The international chanteuse brings her sound up to date for this stunning release. Samples boleros and latin sound bytes are all utilised in an effort to keep with the times and it all makes for a moody, sultry latin sound that compliments Nana's vocals perfectly. "Piel Canela" and "Me Voy Pa'l Pueblo" are flawless. "Despierta Agapi Mou" is a perfect mesh of Greek and Latin Sound and "Espinita" and "No Me Quiras Tantos" display Nana's perfect vocal abilities, more than any fan of Nana's would have imagined possible! The finest moment come on the very intimate "Besame Mucho"! This album is a smashing success!

Fantastic new latin album
I always thaught that latin music is very suitable for Nana Mouskouri and she showed us already in the past years that also in this field she is one of the rare artists who are able to do magic. Her ability do adopt a style of music, a language, a feeling, a spirit is simply fascinating. With this new album the latin Ms. Mouskouri showed once again what a talent she is and how much she learned and developped with all the years in the music scene. The album regroups twelve of the most beloved bolero themes which everyone knows who is interested a bit in this kind of music. Song number thirteen is a welcome new version of one of her early Greek songs with new Spanish lyrics. The production of the album is wonderful and spirit and joy are very well captured on it. I only can gratulate Ms. Mouskouri for how graceful she continous her way in her long career. My favourite songs on this album are wonderful versions of Besame Mucho, Piel Canela, Angelitos Negros and Usted. Very good also Me Voy Pa'l Pueblo and Bachata Rosa and not to forget the old Greek song with a new latin sound Despierta Agapi Mou. No me quieras tanto and Piensa en mi are in my opinon the weaker points in this album but all in all this is one of the best Mouskouri productions in years.

Unique talent
68-year-old Nana Mouskouri again gives prove of her unique talent. This program of Latin songs is her best in this field so far. She is accompanied by a handful of musicians, and it sounds like they all had great fun doing this recording. Her voice is still one of the most beautiful in the world, and her singing very relaxed. Two outstanding songs are "Besame mucho" sung in a very intimate way, and "Despierta agapi mou" which is the Spanish version of one of her earliest Greek successes "Xypna agapi mou". All in all, this collection has style and is a perfect showcase, why she has been a star for over 40 years! Nana, you deserve to be on top. ... Read more

Reviews (2)

Great Ladies Of Song Indeed
This AAD compilation, which first came out in 1992, offers up a collection of songs by some of the greatest female vocalists of the 1940s and early 1950s, including one from the little-known Mavis Rivers, the best singer to ever emerge from Western Samoa [track 5 which she recorded in 1959 with the Nelson Riddle orchestra].

Tracks 7, 8, 10, 11, 12, 13, 16, 19, 21, 22, and 24 are all original renditions and, with the exception of Kay Starr's You've Got To See Mama Ev'ry Night, each was a huge hit for the artists concerned. Other than tracks 9 and 23 [1951 re-recordings by Helen O'Connell, one of her smash hit while a vocalist with Jimmy Dorsey in 1941 and the other one of his brother Tommy's biggest hits from the 1930s], and tracks 20 [a 1961 cut by Dinah Shore reprising her 1944 hit] and 26 [a 1963 recording by Jo Stafford of a 1944 Bing Crosby hit] the remainder were mid- to late 1950s re-recordings of earlier hits.

The sound reproduction is excellent, and while there are no liner notes, per se, just a relisting of the selections showing the year each was recorded and the orchestras involved, there are some nice photos of most of the stars [there is none, unfortunately, of Mavis Rivers].

Also, although the track listings above show only the vocalists involved, on some of the original hits the bands were the main listing - i.e., tracks 8 and 22 which were billed to Stan Kenton & His Orchestra with vocal by June Christy, track 21 which was billed to Freddie Slack & His Orchestra with vocal by Ella Mae Morse, and track 16 which was billed to Stan Kenton & His Orchestra with vocal by Anita O'Day.

Just one of a great series to emanate from Capitol back at the dawn of the CD age.

great intro
grreat recording. was one of the first cds i bought years ago. introduced me to nancy wilson, june christy and ella mae morse great singers each one ..also garland kay starr way too many to mention all great. check out capitol sings series as well. great musid for any time. ... Read more

Album Description

Singer Jacqui Naylor, whose sophisticated vocal style is often compared to the jazz legends of the _30s and _40s, releases her debut album on the Ruby Records label. Naylor_s recording includes interpretations of jazz standards and forgotten classics as well as original music written for the artist. The artist_s olde-style, yet unique sound floats over the CD_s well-orchestrated arrangements and reminisces the bygone days of truly great jazz singers with hints of Billie Holiday, June Christy and Nina Simone. While influenced by the singers and horn players of an earlier era, Naylor_s experience as a featured soloist with San Francisco's Sacred Heart Gospel Choir adds depth and spirit of gospel to her timeless renditions. L.A. Jazz Scene calls Naylor's voice "precise, languorous and very sexy." Subtle vocal interpretations, relaxed tempos and economical instrumentation characterize Naylor's treatment of compositions by Gershwin, Kern, Carmichael and others, creating an album described by critics and fans as "soulful" and "intimate." ... Read more

Reviews (18)

singing at its finest
Great singers know that singing loudly is not necessarily singing with emotion and that stretching and compressing the tempo does not necessarily make a great jazz singer. Great singing rises naturally out of a song, causing you to listen to it because you want to, not because the singer shouts for you to do so.

Jacqui Naylor is a great singer. She sings within a song, poking at it's edges enough to create tension, her voice fondling each word before passing on to the next one, letting the lyric work its magic. And what magic is worked here. She can be sexy (something cool), sad (in the wee small hours), and romantic (embraceable you). And yes she can swing (the way you look tonight). Her saxophone player Bob Johnson has a full Ben Webster like sound that contrasts perfectly with her voice by flirting with it at just the right moment. Singer and tenor saxophone player: no, she's not Billie Holiday (no one could be) but, oh, once in a while the phrasing, the inflection is startling in how it sounds LIKE Billie. The song that combines all the elements is "tell me more & more, & then some." At times Jacqui drops from her high voice to low to great effect, giving it a blues flavor. Her singing does not demand you to listen to it: it causes you to. Her singing washes over you. All you can do is surrender to it and enjoy it.

Romance at its best!
I fell in love while listening to Jacqui's CD in a San Francisco Hotel. Every song conjures up an emotion and feeling and Jacqui's voice soon replaced my own. I hope you buy this and enjoy the powerful tone of Jacqui and that you too are moved by it as I was. Thank you Jacqui, there is a special place in my heart for you.

Perfectly pleasant and presentable
This one didn't rock my world, but there is some good stuff on it. It's a decent effort, and if you like Jacqui you'll like this one.

Honestly can't say too much more about it.

An irresistible voice to fall in love with
I have had this CD for more than a year now, and by now I've heard it easily more than a hundred times. Jacqui has a wonderfully puzzling voice. It is cristaline and beautiful, and also somewhat hard to figure out, as if having different modes. This I really mean in a positive way. As it is well known, she sometimes sounds like Billy Holiday (e.g. in parts of Lazybones, The way you look tonight, a bit in Two sleepy people), but sometimes she has an absolutely unique sound (e.g. Nocturne, May I come in, I cover the waterfront, In the wee small hours), and *then* in particular I experience an endless fascination when listening to her. Her voice sounds almost understanding, it's a voice to fall in love with, a voice that caresses you generously, that cries softly but deeply about longing and loneliness, that can be playful, and also wise, a voice that almost listens to you and comforts you while sharing with you its own heart out so beautifully, puzzling and also oh so irresistible... If I had to pick favorites songs on this CD, they would probably be May I come in, In the wee small hours, I cover the waterfront, Nocturne, and Something cool, but all songs in this CD make it a pleasurable journey to listen to, from start to end. This actually has become one of my favorite female vocal CD's, and needless to say, Jacqui is one of my favorite female singers, the others being Rebecca Pidgeon, and Diana Krall (well and Arleen Auger). I highly highly recommend this CD, in particular for anyone that is very fond of female vocals.

Overrated and out of tune
Another case of hyping an attractive female singer. A lot of affectation and a lot of singing out of tune. The emotion is superficial and studied. I don't get it and I don't recommend it. ... Read more

Amazon.com

Recording for more than 30 years, Maria Muldaur has moved from jug-band music to Tin Pan Alley pop, blues, and jazz. It is the latter two genres that have most defined her output since the 1980s. A Woman Alone With the Blues, from 2003, was Muldaur's tribute to jazz vocalist Peggy Lee, and she's followed that with this set of 10 thematically linked odes to love. It's a testament to the subtle dramatics of her voice that she is equally convincing when singing of love on the rise, or of its melancho