Reviews (11)

Loius and Ella at their best.
Ella and Louis shine in this collection. They are both flawless singers(in their own style) and Armstrong on the trumpet blows this set over the top. Great jazz combined with "Porgy and Bess." They are both laid back with the recordings. Great songs and lyrics.

Not so complete?
There are other Ella & Louis CD's on Amazon with songs that aren't here. Just to save some other collectors the time. This looks like a great set if you don't have others already.

If you could own only one music collection ...
This set has every worthwhile song ever recorded by what may be the best musical duo ever. And even though the price tag may seem high for a collection of ancient standards that for the most part had already been remastered for single-CD collections, I see it as a good value for money given the quality of the packaging and the fact that almost everything Ella Fitzgerald and Louis Armstrong ever recorded is here.

That last part is what really earns this set five stars. There is no shortage of adjectives to describe this unlikely pair -- I've heard satin and sandpaper, for example, or honey and gravel -- and it is the unique contrast between their vocal styles alluded to with those descriptions and the chemistry they share that help them create what can only be viewed as magic.

By putting everything in one set, Polygram all but eliminates the need to accumulate any additional CDs from this duo. To wit: this is the only set I know of that includes Ms. Fitzgerald's and Mr. Armstrong's most playful song (Makin' Whoopee), their best known standard (Cheek to Cheek), and my personal favorite (Summertime).

If you have heard any of these songs and you enjoyed the music even partly as much as I do, then this is a must-have collection.

a note about missing songs...
Ella & Louis never recorded Baby' it's Cold Outside together. Luois taped that with Velma Middleton. Many, many people get that mixed up, so that is NOT mising because it never was...

Good, but not complete
I cannot believe that there are other songs out there that are not on this CD. It states that it is COMPLETE, yet songs like Dream a little dream of me, and Baby it's cold outside are overlooked. In total, this is a good CD, and is a excellent starting set for people who have nothing by them. ... Read more

Amazon.com

This early '60s studio session captures Ella Fitzgerald moving towardthe smaller, more pointedly jazz-inflected ensembles that would shape her careerin her final decades.After the lush orchestrations of her classic series ofcomposer songbooks, which found her collaborating with the best arrangers, theintimate scale and easy interplay of a crack band provide a wonderful platformfor the spirited performances here. That Ella herself savored the opportunity isreflected in a program that includes Thelonious Monk's "AfterMidnight" and a breezy, potent ride through the Charlie Parker/DizzyGillespie anthem, "Night In Tunisia." With a mix of bona fidestandards and revived swing classics, this is a rediscovered gem, cause enoughto clap hands. --Sam Sutherland ... Read more

Reviews (11)

Clap Hands, Here Comes Ella
This cd is worth it alone for "I Got a Guy." She takes a potentially sappy song and makes it tender, pure, honest, and oh-so beautiful. Her version of "This Could Be the Start of Something Big" should have made songwriter Steve Allen very happy. In other hands, this song can (and does) sound really tacky, like it belongs in a lounge act--but not in Ella's hands. She swings it! They didn't call her Lady Time for nothing. "Stella by Starlight" is quite good, and Ella's version of "Spring Can Really Hang You Up the Most" is quite intimate and soulful. Overall, this is very good recording of songs made during the vocal prime of the best singer (in my opinion) ever captured on record.

Boy, can Ella swing or what!
This is most definitely a real classy album from the first lady of song. Ella is found here at what I think was her most instinctive and exciting setting; a small jazz Combo swinging for their lives. None of that big band excessiveness here at all! Ella's treatment of 'a night in tunisia' was supreme in every sence, I felt like I was lying on those exotic sand dunes, looking at the starry tunisian skyline. The best track on here for me however was her rendition of that old haunting Monk anthem 'round midnight', I simply cannot put into words... This is must buy CD for those who prefer their Ella served on a jazz platter!

50,000 stars
This is one of Ella's very best (if no THE best) albums. Heck, it's one of the best vocal jazz albums *period.* It's just Ella and a small group, but it will blow you away. I recommend it to everyone, and it makes a great first choice for those just now looking into the First Lady of Song. Every track is choice, but "Night In Tunisa," "'Round Midnight," "Jersey Bounce," and "Music Goes Round and Around" stand out. The best song is "Spring Can Really Hang You Up the Most." It's the best rendition of that song by anyone anywhere. :-D

Pure Magic
This is probably my favorite Ella CD. Recorded in her prime--the early 1960s--it eschews the overlush arrangements and unembellished singing of her "Songbook" period and returns to her swing roots. This time she chooses a small combo of top-notch musicians and takes an attitude that's at once more intense and more playful than before, steering a course between the score-bound style of the mid-50s and the showy scat singing that made her famous in the 40s. Here the singing is very tender and contains the most tasteful, imaginative, and beautiful ornaments & phrasings I've ever heard in jazz singing--listen, for example, to the haunting last bars of "Round Midnight" and see if the hairs of your arms don't rise. What's even more notable is the large number of bop standards and slow ballads on this album. It's all wonderful, but I would name "Night in Tunisia," "Round Midnight," "Cry Me A River," "Good Morning, Heartache," and "Spring Can Really Hang You Up the Most" as my favorite tracks.

Also highly recommended are "Ella in Berlin" and "Ella in Rome," both recorded during the same period (late 1950s, early 1960s) with small combos.

Definitive versions
I had jazz professors at the University of Utah that steered me toward Ella's music. They said that in order to understand jazz with all of its improvisation, one should listen to how the tune "goes" first. Especially in the Songbook albums, Ella sings them with little improv or embellishment, but reads the ink pretty straight. Several of the composers featured stated that they didn't know how good their songs were until they heard Ella sing them.
Clap Hands Here Comes Charlie is backed by jazz trio/quartet, a departure from the more string-backed songbooks. Ella is a little more playful here.

If you have all of her Songbook series, and you're looking to expand your Ella collection, I'd recommend starting here. ... Read more

Reviews (21)

Superb compilation!
I highly recommend this album for those people who are newly discovering music of Nat King Cole AND those fans who don't own the "Nat King Cole Story" double CD. In almost all cases, this album uses the latest stereo versions of his original hits. The mono songs include Unforgettable, This Can't Be Love, Tenderly, Autumn Leaves, Avalon, Almost Like Being in Love, and Our Love is Here to Stay. The remainder come from the album the "Nat King Cole Story" double CD. These were recorded in 1961 using the original arrangements in stereo! Nat voice just got better with age! If you'd like to buy only one CD and don't care that these are not the "original" recordings, then THIS is the CD to own. This is also a must have for ANY Nat King Cole fan! The sound quality is superb!

The Unforgettable Nat King Cole (2000)
I purchased the CD for just one cut, "That Sunday, That Summer",
and was blown away by the entire, thoughtful compilation. It is Nat King Cole at his best, and the bonus of Nat's recording of "Unforgettable" as well as the Nat and Natalie "Unforgettable" duet are a treasure. My only objection was that there were no liner notes with dates or credits for the other musicians. Nevertheless, this is a collection that any Nat King Cole fan will cherish.

The Best "Hits" Album Yet.
This is the best of Nat King Cole's "hits" albums. It includes the song "The Very Thought of You", one of his greatest songs, which some hits albums do not. The songs "Unforgettable" and "Nature Boy" are recorded in stereo and sound great! Get this album and avoid "Greatest Hits"(Capitol). It omits some good songs and includes some songs recorded in inferior 1940's monaural sound.

The Unforgettable Nat King Cole
"Unforgettable" is the right word to describe the legendary Mr. Nat King Cole. How can you forget the silky and velvety voice that is identified with timeless melodies such as "The Very Thought Of You", "This Can't Be Love", "Mona Lisa", "Straighten Up And Fly Right", "Autumn Leaves", "L-O-V-E", "For Sentimental Reasons", "That Sunday That Summer", "Route 66", "Non Dementicar" and of course his signature song, "Unforgettable", to mention a few. The very talented Mr. Cole was one of the best vocalists in his time. He was also a great jazz pianist and a bandleader. It was unfortunate that his recording career was so short. Nevertheless, his music legacy will live on.

This CD comprises the most soothing and relaxing melodies of all-time. Highlights are two recordings of "Unforgettable", the original and the amazing "digitally remastered duet" with daughter, Natalie Cole. My topmost choices are, Gershwin Brothers' "Our Love Is Here To Stay", Noble's "The Very Thought Of You", Russell/Ellington's "Don't Get Around Much Anymore", Watson/Best's "For Sentimental Reasons", Gross/Lawrence's "Tenderly" and Mercer/Kosma's "Autumn Leaves".

This is one great CD not only for Nat King Cole's fans but also for everyone who loves classic ballads for easy listening.

Wonderful!
This is my first Nat King Cole purchase and I have to admit that I was rather hesitant to order this cd because of the negative reviews regarding the sound quality and I even put off my purchase for several weeks as a result. However, I am very pleased with the content and sound quality of this cd (I'm no expert but it sounds good to me). Initially I was after his recording of "L-O-V-E" but to my delight the entire cd is fantastic! This cd transports you to another time. Nostalgic, beautiful, and charming. I highly recommended it! ... Read more

Amazon.com

There have been plenty of Rosemary Clooney best-of compilations, but few highlight the depth and diversity of the vocalist as does Songs from the Girl Singer. Billed as a musical autobiography, this double-CD companion to Clooney's written autobiography illustrates the stylized but varied and spunky career of the singer, from her earliest works to her most recent. Some of the highlights include "Sooner or Later," Clooney's first solo performance from 1946, which features the sultry 17-year-old singer dueting with bandleader Tony Pastor; 1950's "Peach Tree Street," with Clooney and Frank Sinatra collaborating for the first time; and on 1951's "Come On-a My House" we can hear the ultra-catchy, folksy tune that first brought Clooney acclaim (and the cover of Time), an astonishing triumph for a number she initially refused to sing. Fast-forward and we get even more gems ("Hey There," "White Christmas," "The White Cliffs of Dover," to name just a few). Whether singing solo or with Sinatra, Bing Crosby, Bob Hope, or Duke Ellington, Clooney shines here--there aren't any duds in this collection. All in all, this is a great retrospective, with some numbers that even Clooney's longtime fans might not own. --Jason Verlinde ... Read more

Reviews (14)

"warm, lyrical and tenderly is Rosemary Clooney"
The year is 1954, the film "White Christmas", starring Bing Crosby and Danny Kaye, but the special treat in this classic Holiday film was our "girl singer" - Rosemary Clooney. Her warmth and personality came through with a wonderful performance, only matched by a God given talent - her distinctive voice. Great songs from this film - "SISTERS", "WHITE CHRISTMAS" and of course the Academy Award nominated song for that year - "COUNT YOUR BLESSINGS", appear in this memorable collection.

Concord Records has released the essential musical companion to "Girl Singer:An Autobiography (Doubleday Books), this special 2-CD retrospective highlights some of the most treasured recordings in the extraordinary life and career of America's most beloved "girl singer".

This collection features both classic and rare Clooney performances with artists such as Frank Sinatra, Bob Hope, The Duke Ellington Orchestra, The Nelson Riddle Orchestra, and one of my favorites Percy Faith Orchestra with "TENDERLY", as only Rosie can sing it. Concord has twenty-nine unforgettable tunes and spotlights the musical moments that bring Rosemary's story to life...a must have for her fans young and old!

Total Time: Disc One 41:09 on 14 Tracks & Disc Two 59:40 on 15 Tracks...Concord Records CCD2-4870...(2000)

Great career-spanning collection
The first notes of the first disc engage the listener, with Clooney's powerful yet clear voice. But, at the risk of offending some of her fans, I actually prefer Disc 2. The generic sweetness of her voice is replaced with a voice of a woman who's a few years older, a few years wiser. Her now-gravelly voice makes each song her own, and the raw emotion is so much more moving than the songs of her early days. No matter how you slice it, they just don't make 'em like Rosemary anymore. She is sadly missed, and she's completely irreplaceable. We love ya', Rosemary.

Sundays in the park with George's Aunt
Rosemary Clooney's life wasn't all a picnic in the Park. I got this CD set while reading her book: "Girl Singer: an Autobiography. (Like Girranimals, the similarly titled companion pieces have the same picture on the front so that the purchaser will know that they go together.) This was quite a treat - like a read-and sing-along with Mitch Miller (who appears in the book - he "made" Rosemary sing "Come On-a My House," the song that elevated her national stardom, despite her concern that it was too silly a song to sully herself with! ;-)

The songs included here are representative of Rosemary's varied and legendary career. My only quibble is that I would have preferred the version of "White Christmas" with Bing and the cast of the movie. Listen to this set anytime, anywhere. Buy it, you'll like it!

God Bless You, Rosemary. 5/23/28 - 6/30/2002

Has its uses.
A cardboard fold-out (at least no broken jewel cases) with a booklet insert, this double-album is a retrospective guaranteed to appeal to those who have read Rosemary's autobiography as well as those whose points of reference are both the 1950's hitmaker and the later discriminating stylist. If your primary interest, though, is in Rosemary the musician, for early Rosemary go with "Blue Rose," her album done with Duke Ellington for Columbia; for later Rosemary, go with the Concord Heritage Album, a collection of her very best work for that label.

Praise for a wonderful lady
This 2CD set takes the listener through the career of Rosemary Clooney, including the "hokey" 50's as well as the mellow jazz renditions with Nelson Riddle and Duke Ellington. This album looks like it will get worn out on my CD player. I will be playing it for decades. Noone sings with more musical eloquence than Rosy. ... Read more

Reviews (19)

A Timeless Masterpiece
A stunning collection of standards by Barbra. Prior to this Third Album, Barbra had been criticized for not singing standards. Here, with just the simplest of arrangements and her incredible phrasing and her incredible instrument, she delivers stunning vocal performances of such songs as "Just in Time," "Bewitched," "Make Believe," "As Time Goes By."

Music to schtup by. Or just to listen to. Incredible songs, her incredible phrasing, her incredible musical instrument.

All these nouveaux divas-come-lately could all taken a much needed lesson from this superb collection -- less is often so much more.

Bewitching!
Simple orchestrations and Barbra's voice combine to form the best music on earth! Except for "Draw Me a Circle", I can listen to every song on this album every day and not get bored. My favorites are "Just in Time" (this song was not a "ballad" on Broadway, but the slow tempo and Leonard Bernstein intro are wonderful), "Never Will I Marry" (this WAS a ballad on Broadway, but Barbra's energy and raw irony make this version GREAT), and, of course "Bewitched". This Rodgers & Hart classic has never sounded better! Barbra takes all these classic songs and sings them in such a way that the listener "experiences" the emotion of the lyrics.

Withstood the test of time!
I purchased the LP of this recording while I was in college in the mid-sixties. The songs are still as great now as they were back then. This is a CD for a quiet evening in, for when your true love is not with you, or even when he is beside you. Yes, it's mellow, but it shows the true power of Ms. Streisand's beautiful voice.

Streiand still doing torchy ballads...
...but doing them well, sending "My Melancholy Baby" and "Bewitched, Bothered and Bewildered" to new highs. The heavy production sometimes weighs the pacing down, and sometimes Streisand over-sings, over-dramatizes or over-acts, but she was then what she is now: a one-of-a-kind. Fluttery and fawning, she's a tempest of talent who sometimes gets in her own way. The later "People" album brought out more of her sense of humor; this one is Streisand the drama queen.

It has to be Barbra!
A softer, quieter outing that may not match the dramatic intensity of Barbra's first two recordings, but it is an masterful, soothing release that proves the "great belter" could deliver numbers with subtlety and restraint with equally stunning results. The album continued Streisand's hot streak, hitting the Top Five and quickly going Gold. The songs form a beautiful unity as the album plays out and Barbra gives us highlight after highlight. My favorite cuts include the haunting "Bewitched, Bothered and Bewildered," the wistful "Make Believe," and the delightfully abstract "Draw Me A Circle." However, Barbra really pulls off the near impossible by taking the well over performed warhorse "It Had To Be You," and actually making it seem fresh and exciting again. A lovely meditation of beautiful sentiments, THE THIRD ALBUM also proved there was a softer side to the seemingly unstoppable young talent. ... Read more

Reviews (28)

"The magic in the music."
After insisting for years that she didn't enjoy live public performances, Barbra Streisand finally came out of hiding and delivered exactly what all of her fans had been dreaming of - and much more. Despite giving many live performances over the years on television shows and fund-raisers, this was actually the first real concert tour of Streisand's career. She decided it was time to finally conquer her intense stage fright and, at the same time, give something back to the fans who had been begging to see her perform live for years. The show's pricey tickets sold out instantly, and fans eagerly awaited the day of the concert. Little did anyone know that Streisand would not only meet the huge expectations that had been placed before her, but that she would greatly exceed them - the '93-'94 concerts will be forever remembered as one of the best things she has ever done.

From the slow emergence of the perfectly-selected opening song "As If We Never Said Goodbye" to full-throttle splendor of the closing selection "Somewhere," Streisand treated her audiences to a spectacular evening. She opened herself up more than she ever had before, and allowed her fans to spend time with the woman behind the superstar. The first act of the show was more like one of her sixties television specials (particularly My Name Is Barbra) than a traditional concert, with insightful and humorous "therapist" monologues peppered throughout the first half. Streisand effectively reminisced about many of the events that shaped her life as an entertainer, and the song selections perfectly complemented the stage dialogue. The songs performed in this half are not the typical "greatest hits" set that most artists perform, but were selected because of what they represent in Streisand's life. It works flawlessly, with the well-known selections ("People," "Evergreen") folding into the context as easily as the lessor-known material ("I'll Know, "Will He Like Me").

The second act is performed more like a traditional concert, however Barbra still lets her guard down quite a bit when she discusses her relationships to her son and goddaughter, both of whom she dedicates songs to. The concert that was recorded for this particular album was performed at Madison Square Garden in New York, and the fact that she was performing in her own home-city makes the show even more poignant. She sounds absolutely terrific, and shows us once again why she is the greatest vocalist of all time. While she unarguably has a gorgeous, God-given singing voice, it is the nuance and emotion that she commandingly brings to every song she sings that really places her in a class by herself. Listening to her explore the lyric of well-written song is easily one of the most exciting things there is, and that sentiment is expressed multiple times throughout this remarkable record. This recording of THE CONCERT hit the Top Ten on the Hot 200 and reached Triple-Platinum Status in sales, which is amazing for a double-disc, live album.

This album is one of the best albums of the history
One of the best albums of the history because Barbra Streisand has the best pop voice of our century, because she sings some of her best songs live in the greatest american tour....This album deserves the 10. There are some of the greatest Barbra's clasical performances like People, Evergreen, The way we were, You don't bring me flowers, Don't rain on my parade, He touched me, Papa can you hear me, Happy days are here again, on a clear day, Somewhere or My Man. In other side, there are new songs like the incredible Ordinary Miracles, The powerful version of the clasic The man that got away, A disney Midley, The funny I'm still here. Really wonderful. Barbra's voice is mature, strong, high, deep, beautiful. The album was top ten, was 3 platinum and deserves several nominations for the Grammy Awards, like Best pop vocal female performance, best traditional performance, etc. I really love this album.

The Concert of a lifetime- the best!!!
I bought this album a few years ago, and up till now, it is almost all I listen too! Now, the Timeless concert may have a little better song selection, but this concert was an intimate bonding, and instead of the usual "Greatest Hits", Barbra sang not so famous songs that relate to her, and that just happen to be amazing!
It starts off with a great Ouverture, reminding us of the fabulous songs in Barbra's repetoire. "As if we never said goodbye", the perfect opening song, starts of this enchanting evening, with a better lyric to accomodate the evening, and an amazing reorchestration. Then, after her hillarious remarks, Barbra swings to the funny yet true I'm stuill here/ Everybody says don't, and ends it with the best version yet of Don't Rain on my parade, with the greatest orchestration full of energy, making you want to sing along. The we relax with a wonderfull rendition of Can't help lovin' that man from Showboat, and then after talking about her early crush with the movie star, Barbra sings a delightfull duet, I'll Know with Marlon Brando. Then, the Barbra trademark People is sung with a great orchestration and a wonderfull energetic ending, which puts everyone in the mood which only Barbra can do.
Then, after a short Lover Man, we sit in on three therapy sessions separated by Will he like me, a great song from People, He touched me, a soft then strong ballad, Evergreen a very lovely love song, and a montage of three of Barbra's movies. Then, she sings a great The man that got away, followed by a newly orchestrated and brilliantly sung On a clear Day, to end a glorious first act.

Act two starts with an entracte, then The way we were, beginning offstage, then Barbra apeeras singing it, one of her greatest songs. Then, after a funny comment, sings a solo of You don't bring me flowers. After that, she sings the wondeful calm and serene Lazy Afternoon. Then, she goes into a Disney Medley, a great selection of songs. Then, Not while I'm around, a wonderfull softie for her son. Then Ordinary miracles a new and terrific feel good song, powerful and profound.
Then, the highlight, the Yentl Medley, stressing on the emotional Papa Can you hear me, and the powerful, soaring, and wow, incredible, A piece of sky. Then, Happy Days, a great classic, saluting new beginings. Then three encores, the wondefull My man, from Funny girl, the sweet For all we know, and the powerful ending, Somewhere.
Great concert, highly recommended

Streisand: The reason that recorded music was made!
In these highly Republican days, it's not "kosher" to be a fan of the Clinton-friendly Mrs. Brolin. Well, I have always been and will continue to be a fan of "Babs".

Madison Square Garden, showcase for many of the great sporting contests of all time, is the perfect venue for this history-making concert. Barbara's "conversation" with her "therapist" segues perfectly from song to song, and what songs they are!!!

Her movie tunes, her Broadway triumphs, as well as the pop standards that she made famous are here. Accompanied by a brilliant orchestra, led by Marvin Hamlisch, Streisand has never sounded better.

And her solo (minus Neil Diamond who accompanied her on the single) rendition of "You Don't Bring Me Flowers" is chillingly beautiful.

Barbra, spelled D-I-V-A.
This CD will go down in history as the quintesential example of how to wow an entire nation. Barbra delivers an unforgetttable exprerience that even she didn't know she could give. I first fell in love with her and her music by listening to "For the Record," a collection of her recording careeer. This CD keeps that fire burning.
Look up "amazing" in the dictionary and you will find: "See Barbra Streisand, 'The Concert.'" ... Read more

Reviews (32)

Living in the shadow of greatness
How the younger sibling hates being compared with the elder one. So.... The cd opens with one of my favorite songs. Barbra's version is nice but doesn't hit the mark. When I think of Jane Oliver's "Some Enchanted Evening" I can't get past Oliver's totally enchanting performance. "Music Of The Night" is a solid performance, and one of the highlights. "As If We Never Said Goodbye" and "With One Look" are two favorites of mine, and Barbra shines! "Children Will Listen" is certainly a song every parent should hear. Lovely insightful lyrics. Great presentation. "I Have A Love/One Hand, One Heart" is a pleasant pairing of Streisand and Mathis (his best pairing is still with Jane Oliver when they did "Last Time I Felt This Way") from "Same Time Next Year". "I've Never Been In Love Before" is another one of the better songs. "The Man I Love" is early Streisand at her very best. "Move On" closes this performance on a high note. If you don't compare it to "The Broadway Album" you'll appreciate this collection more.

A sometimes enchanted sequal.
Does Barbra's follow up recording to THE BROADWAY ALBUM come close to matching the spectacular quality of the original? Well, yes and no. The original BROADWAY ALBUM is Streisand's masterpiece and one of the best recordings of all time, so there's really no way she could ever even begin to approach the level of that release. However, when thought of an independent release, BACK TO BROADWAY is an excellent record in it's own right.

Barbra is in terrific voice and she gives some of her most stunning performances here, particularly on the album's closing track "Move On." Unfortunately, it is in the production and song selection the BACK TO BROADWAY occasionally falters. While THE BROADWAY ALBUM featured many of Peter Matz's creatively daring arrangements that gave many of the compositions a jolt of energy, BACK TO BROADWAY consists mostly of the "easy listening" gloss of David Foster. Foster produced THE BROADWAY ALBUM'S stunning, post-apocalyptic rendition of "Somewhere," however the only track that is reminiscent of that kind of creativity is the delightfully frantic take on Sondheim's "Everbody Says Don't."

Foster basically plays it safe everywhere else, and his ultra-smooth production can either help a song or hurt it. For example, the sultrier numbers like "Speak Low" and "I've Never Been In Love Before" actually benefit from their "lite FM" arrangements, however the already-over-played compositions "Some Enchanted Evening" and "Luck Be A Lady" sound like they were arranged for an ammeter talent show. Another problem is that, while the album is pretty consistent listen, BACK TO BROADWAY never really gels into a completely cohesive release. This is due to the fact that two of the sections are duets and three are Andrew Lloyd Webber compositions. All of these tracks are individually very good, but they sound out of place next to the other material.

Having said all of that, BACK TO BROADWAY excels when it sticks to Sondheim's material. Stephen Sondheim is the greatest composer of his generation, and Barbra is the perfect interpreter of his material. Barbra gives the definite performances of the aforementioned tracks "Move On" and "Everybody Says Don't," and her beautifully nuanced rendition of "Children Will Listen" is one of the best performances in her extraordinary career. Johnny Mathis joins Barbra on a medley of "I Have A Love/One Hand, One Heart," and (even if the duet format prevents it from working within the confines of the album) it is a show-stopper!

Even if it never really unifies into a cohesive whole, BACK TO BROADWAY contains enough exceptional material to make it a great recording. The album hit #1 on Billboard's Hot 200 and has achieved Double-Platinum status in sales, and it remains Barbra's best studio album of the nineties - if only because it's the only one where she sings songs that are truly worthy of her immense talents.

Back on Stage
This is her second collection of Theatre Songs.
Again i am not in a position to review this from a critical point.
I can tell though that AS IF WE NEVER SAID GOODBYE is really intriguing, SOME ENCHANTED EVENING really brings you out to South Pacific...you can almost see those peach-ripe sunsets if you close your eyes as she sings her out out.
LUCK BE A LADY is pure Vegas versus Atlantic City mood.
SPEAK LOW comes directly out of a jazz club session.
EVERYBODY SAYS DON'T has got the lady displaying her vocal skills around a fun track and MOVE ON is a good medicine for the helpless broken-hearted.
But the nugget is THE MAN I LOVE.
No matter the difficulties in a song, Barbra's approach is always accurate and private.
What more to add?

A PALE SHADE OF BARBRA
Aside from the fact this is definitely not as good as THE BROADWAY ALBUM it follows; Barbra is out of her league (if you can believe that!) here. The album starts with the promise of "Some Enchanted Evening", but her duet with Michael Crawford on "The Music Of The Night" from 'Phantom of the Opera' is disappointing. Barbra lacks the ability to sing "high" enough to give this song the same impact it had when sung by the original London cast. Here it feels relegated to the "basement". She delivers the performance her fans expect on "Speak Low" (subtle) and with "As If We Never Said Goodbye" (monumental). It has always been hard for Barbra to reign in her powerful voice and keep it from becoming a "runaway train", but she strikes a nice balance with "Children Will Listen". The duet with Johnny Mathis on "I Have A Love/One Hand, One Heart" from 'West Side Story' is a lovely tune, but Mathis is run over by both Barbra's voice and the loudness of the orchestra. I'm sure his injuries required hospitalization. One of two songs lifted from 'Guys & Dolls', "I've Never Been In Love Before" is richly interpreted by Barbra in true Barbra style. As for the other, "Luck Be A Lady" is a haphazzard, over-instrumentalized vehicle. "With One Look" the Streisand Express once again roars down the tracks. "The Man I Love" which comes on its heels is a sweet, tender and refreshing change of pace; Barbra at her best. "Move On" concludes the album, and is advice well taken. If you want an album that is Barbra at her best and not a pale shade of Barbra, check out HIGHER GROUND; it's far superior.

In Every Way, Typical Barbra
This album represents everything that Ms. Streisand's devoted fans love her for, and everything that others love-to-hate her for: The gooey string arrangements, classic songs with lyrics rewritten to suit her superstar status, Barbra's alternately silken and voracious voice, and the blatant steamrolling of her duet partners are all here in spades. What separates this collection from its nearly-flawless 1985 counterpart is that Babs is sounding strained and rather obnoxious when she goes for the vocal gusto in the more full-throttle moments---singing becomes screaming too often here, and her pitch is noticeably shaky, but who has the guts to tell *her* that? One can actually picture her shoving duet-partner Michael Crawford away from the microphone as she steals the last climactic note of "Music of the Night" away from him, and poor Johnny Mathis' wispy voice doesn't stand a chance against her raging lungfuls of volume. (For the all-time most preposterous example of this phenomenon, listen to her 1987 duet with then-hot TV star Don Johnson on "Til I Loved You.")

Here, Barbra is content to simply luxuriate in being Barbra, and her devoted fans probably won't even notice that she's not really in top form. Everyone else who is *not* content with the stilted, awkward emotings here, clutch your copies of the 1985 "Broadway Album" firmly to your chests---It doesn't get much better than that. ... Read more

Reviews (10)

Sinatra may've made more 'important' LPs, but few as sublime
Although Frank Sinatra's 1967 collaboration with Antonio Carlos Jobim is considered one of the high points of the singer's career, it's not always noticed how fundamentally incompatible both artists are - against the sunny twilight of the bossa nova backing, Sinatra's American straightness can sound alien. The attempt to meld Bossa nova with swing sometimes results in an awkward dilution, but more often creates a tension that makes for fantastic listening.

Among the highlights on a stunning set (comprising out-takes from the 1967 session) are: the famous 'Aqua de Beber', made fresh by the overlapping of Sinatra and Jobim's vocals; the wide-eyed orchestral epiphany that lights up 'Someone to light up my life'; an astonishing 'Wave', still popular music's greatest tribute to the fantasy of love-making, with a gorgeous string surge at mentions of waves, and a knowing nod to 'Makin' Whoopee'; and a witty 'One note samba', that lush urge to minimalism. And these are out-takes!

The second half of the album consists of tracks arranged by Don Costa, and include songs written by John Denver. Many listeners find this creates an imbalance in quality, and certainly this second half, with schmaltzy orchestration lacking the Jobim nuance, and Sinatra's sometimes disengaged singing, misses the magic of the opening eight songs. We can certainly live without another version of 'Close to you', definitive though Sinatra's is.

Nevertheless, there are four songs here that are as good as anything Sinatra has done. 'I Will drink the water', 'Sunrise in the morning' and 'leaving on a jet plane' have all the Vegas drama, unexpected grooviness and melodic rush of late Elvis. 'Lady Day', however, is a staggering, living epitaph to Billie Holiday: strings and harpsichord like the soundtrack to a lost 60s French movie, passion and empathy from one great singer to another.

The CD with the split personality
On the one hand, you have the first seven tracks, consisting of bossa nova tunes performed with the composer Antonio Carlos Jobim. As good as a previous album Sinatra did with Jobim was, these seven songs are even better. Eumir Deodato's arrangements are a little more aggressive than Claus Ogerman's on the first Sinatra/Jobim album. Combined with three songs that didn't make it, "Bonita", "Song of the Sabia", and "Desafinado", all of which are available only on the Reprise box set, this might have been on a top three list of all time Sinatra albums. There are several tracks like "Wave", "Agua de Beber" and "This Happy Madness" that are astonishingly good. "Agua de Beber" is an interesting fusion of swing and bossa nova, in which Sinatra actually sings in Portugese.

Unfortunately, instead of those unreleased bossa nova tracks, Sinatra grafted some mediocre soft rock tunes from the early 1970's onto the second half of the album. "I Will Drink the Wine" is not bad, but "Leavin' on a Jet Plane" and most of the others are just woeful. Sinatra sounds disinterested, and it's not surprising he retired shortly after this album came out.

So you have an album with a split personality. The first seven songs are as good as anything Sinatra ever did, while the last several songs are unworthy of such a great singer. Still, even bad Sinatra is worth hearing.

And it's worth tracking down "Bonita" and "Song of the Sabia" if you can find them. Add those tunes to the songs on the first half of this album, and you will have discovered a lost treasure.

Not half bad
I usually maintain that Sinatra albums are of such a thematic and artistic wholeness that to issue them in the form of sampled collections is to a grave disservice to the original projects. If so, "Sinatra and Company" is the exception that proves the rule. Despite a happily conceived Sinatra reading of "Being Green," the second side of this album is benignly irritating (on the other hand, had the material been sung by an Engleburt Humperdinck, Jerry Vale, or Andy Williams it could have been downright nauseating).

Not just Don Costa but Sinatra must share some of the blame for the lapses in judgement that are 50% of this album. The tunes and lyrics are so lame, so much a part of '70's pop culture, that it's almost understandable why Costa would overscore them in garish colors. And whoever the engineer was who mastered the album--washing out Sinatra's voice in the mix and pumping up the bass to ridiculous levels (I can't even reduce it sufficiently when I back off the bass tone control as far as it will go) certainly had to receive Sinatra's approval. In the 50's Old Blue had the integrity not to even pretend to meet the Elvis challenge. So in the 70's why was he trying to emulate Herb Alpert, Burt Bacharach, and the Fifth Dimension?

Side One is also overly loud and thickly textured (the Claus Olgerman session with Sinatra and Jobim is clearly superior), but it contains some indispensable musical moments by the Master Storyteller. No one else has come close to matching Sinatra's passionate reading of "Someone to Light Up My Life" (which should be a popular standard based on the evidence here), to probing the depths of the ocean (a resonant bottom D) on "Wave," or elevating "One Note Samba" from a facile ditty to a musical main event (just dig Blue's vocalese on the second chorus--a rare Sinatra moment).

In short, don't bother with this album unless you already own at least 25 Sinatra albums. Instead, go with "Frances Albert Sinatra and Antonio Carlos Jobim" or, since this latter album is quite short (25-30 minutes?), simply wait for the inevitable release of "Best of Sinatra and Jobim."

First half of the album makes this a must have
One of the few tragedies in this craze of Sinatra issues is the reluctance to bring back the 1971 album "Sinatra & Company". I was fortunate to have found it in Canada after years of hunting for it. On tracks 1-7 the Chairman collaborates with Antonio Carlos Jobim once again. This session was arranged by Eumir Deodato and top the other CD with Jobim (simply called Frank Sinatra and Antonio Carlos Jobim). Sinatra's voice is in top form and the arrangements are beautiful. "Wave" stands out in my personal opinion as one of Sinatra's all time best performances. As for the Don Costa arrangements that make up the secound half, they could have been better. They are too mixed up and disturb the easy flow of Jobim's bossa nova. Not to say they are bad but they just don't fit. It's like putting big band swing at the end of "In the Wee Small Hours". Yet still the folks over at Reprise need to make sure they get this album out (preferably along with "She Shot Me Down"). Its just too good to remain a lost Sinatra album.

Mellow Sinatra sings music to relax to
Perfect music for when you're in the mood to unwind. Sinatra's immaculate phrasing is a joy. The laid back atmosphere allows Sinatra's warmth to fill songs such as One Note Samba and Sunrise In The Morning. I Will Drink The Wine illustrates his fondness for "statement songs" but in a less confrontational manner than others from his career including The House I Live In. ... Read more

Amazon.com

Talk about your gifts of Christmas past, The Christmas Collection is a must-have for any Sinatra-phile, right down to its family photos and one priceless shot of Sinatra swinging a golf club next to the tree wearing a Santa suit! Complete with four previously unreleased tracks (some from live TV specials) -- including two with Bing Crosby ("The Christmas Song" and "White Christmas"), the 18-song collection surveys Sinatra's holiday output and its effects are often chilling. Listening to him glide soulfully through Jimmy Webb's melancholy but romantic "What Ever Happened to Christmas?" or hearing him do his immaculate phrasing on "Silent Night" when he was visibly frail and aging in 1991 are close encounters of a Sinatra kind that are rarely captured on one album. There's also a delightful "The Twelve Days of Christmas" sung with his kids Nancy and Frank, Jr., from their 1969 record The Sinatra Family Wish You A Merry Christmas and insightful and intimate liner notes by James Ritz, not to mention those magical orchestral arrangements. Here's a five-star package to remind us that it's still Frank's world--we just rent a stable in it. Highly recommended. --Martin Keller ... Read more

Reviews (16)

This is Ella at her best.
This collection of songs was originally recorded for the film "Let No Man Write My Epitaph," from 1960. It's an album that's just recently started to receive attention. This CD proves that Ella was more than capable of expressing great emotion in her singing. Many of the tracks, particularly "Angel Eyes" (which I can't stop listening to), are downright melancholy. She exudes so much maturity and elegance here, backed on the piano by Paul Smith, and her voice is at its absolute prime. Her versions of "My Melancholy Baby," "September Song," and "I Can't Give You Anything But Love" are definitive. This is the absolute best!

The Ultimate Singing Lesson
I don't have many of Ella Fitzgerald's CD's, but The Intimate Ella is my favorite of those I do have. Her phrasing is impeccable, her voice always pure and clear. Every song on this album is an absolute gem, and Paul Smith's masterful piano accompaniment only enhances Ella's stupendous voice. Highlights include Black Coffee, I Can't Give You Anything But Love, and Reach for Tomorrow(a song I never knew of until hearing this CD!). Some may say that this CD is not upbeat enough, but the sternest test for a singer is to communicate the full range of human feeling, and experience. Ella Fitzgerald does that here. Although I'm a male baritone singer, I love Ella because like Billie Holiday, she had the quality of singing in a way that makes you the listener feel like she's singing just for you. Besides all this, Ella's simplest and greatest attribute for me is her accessibility:she makes song lyrics so easy to learn. This CD is a masterpiece not be to missed.

The Intimate Ella at her very best
Ella was famous for actually having an incredible range of voice, perfect pitch and relative pitch [extremely rare outside of Opera.] She popularised classy swing and cool Be Bop scat singing in the 50's and early 60's....but if you really know your Ella....you will know that she enjoyed singing ballards the most. You will also know that there is absolutely no one who can match her depth of feeling on these tunes the way she has here.

The Intimate Ella is by far one of, if not, the best of her albums on Verve [her peak years.] Her voice so tender and pure .....so beautiful without being sickly or contrived. She takes a standard ballard and lifts it to a higher place....check out I Cried For You....a fare standard by many [Holliday etc.] Ella brings an emotional honesty and depth to this piece that no one has done since....her inspirational change in key at the end of the song is heart breaking. Ella makes an ok tune sound like aural beauty. Like Ira Gershwin often said about her interpretations of his songs..."I didn't know our songs were good till Ella sang them!"

Her version of Black Coffee makes Peggy Lee's redundant... quite frankly Ella's is the real deal. Her versions of I cant give you anything But Love and especially her version of Misty are the difinitive vocal renditions. Forget the other cheesy vocal versions....Ella's voice with an inspired piano accompanying her is so beautiful it almost hurts....the album is one big smooth vibe!

Her version of Angel Eyes actually leaves Sinatra's sounding cold and somewhat feeling sorry for himself. [till I heard Ella's only Sinatra could do this tune for me!] Ella's feels purer in intention ....and even more desolate but also more honest. While this LP is often downbeat it is never contrived or moaning. At times Ella touches on a Blues sensibility with a pinch of Gospel and Soul.

At the same time this album has a very real and cool feel about it.....this is not just an album to feel sad on your own with. This is an album to chill out late night with friends or for a romantic evening. Without hyperbole it is easily one of the coolest and most impressively enduring Jazz LPs of all time....but it is also an absolute classic pop[ular] album for all.

If you highly rate Lauryn Hill, Aretha Franklin, Dinah Washington, Erykah Badu, Dee Dee Bridgewater, Mahalia Jackson and Mary J Blige as female vocalists and you haven't heard Ella on this album your missing out. You'd be foolish to ignore the incredible beauty of Ella Fitzgerald's vocals. No album displays her tenderness, her incredible vocal ability, her simplicity, her velvet timbre and her unfetted emotions like this album. You'd have to be dead not to be touched by this album. Go ahead and buy....you will have and enjoy this music for life! Trust me.

ella like never before
From the first track to the last one, only the best that ella could give from the deepest of herself

Hushed Ella
Tinkling piano and romantic songs turn The Intimate Ella into a smokey, late night affair. A very specific, slightly dour, yet beautiful recording. Not your typical Ella. ... Read more

Reviews (1)

TWO GREAT VOICES SINGING GOD'S PRAISE!
HOW THANKFUL I AM THAT THESE TWO WOMEN GOT TOGETHER AND
SANG THE PRAISE OF OUR LORD! OUR EARS HAVE BEEN BLESSED WITH THEIR JOYOUS AND BEAUTIFUL VOICES! GREAT BUY AND A LORETTA LYNN AND/OR PATSY CLINE FAN GOTTA-HAVE! SUSIECOOL ... Read more

Reviews (25)

"ButterFly" soars...!
The 1st time I heard Barbra Streisand's "ButterFly" I was in a dentist's chair with Nitrous Oxide on... an exceptionally receptive mood for "Love in the Afternoon" to float in on. Then "Guava Jelly" ups the tempo a bit and is a great fun loving song. Slipping into a bluesier and thoughtful "Grandma's Hands" and then into more familiar Lite-FM-esque "I Won't Last A Day Without You" and onto a refreshing "Jubilation". I was hooked, gas or not.

The 2nd half of the album is at least as good as the 1st. "Simple Man" is almost spiritual in it's simplicity and earnest appeal. Then the best cut of the album, Barbra's remake of "Life On Mars", the David Bowie classic. Many people have lamented her version over the years, unjustly comparing it to the original. Barbra's introduction is haunting, futuristic and daring and she makes great use of her acting style so often well-utilized in her Broadway songs, to give this rendition a multi-layered and deeper interpretation.

"Since I Don't Have You" and "Crying Time" are unique. Streisand can at times create an unusual sound with her range and stylizations. These songs alternately feel country and soulful, an odd and yet very satisfying blend. Listen for yourself. She would later perform "Crying Time" as a duet with Ray Charles on one of her TV specials.

The 70's laid-back feel and spoken intro of "Let the Good Times Roll" harkens back to a simpler time. Before all the great "causes" that would leave us all in a perpetual state of despair. When the strongest drug of choice was pot, when sex wasn't life threatening and feeling good and mellow was "in".

This was back when she wasn't afraid to experiment with contemporary sounds and I'm glad we have albums like this and "Lazy Afternoon", "Stoney End" etc. to remind us of better times.

Sexy, Soulful, Unadulterated Streisand
I first heard this album when I was a teenager. It captivated me then. Now, a hundred years later, I am still moved by the raw intensity and sheer sexiness of Barbra's vocals. Jon Peters did a wonderful job on the production of this album.The unpretencious production values are charming. Jon let us inside what might be a kind of home demo energy flow that isn't found on any other Streisand album to date. If you're interested in hearing vulnerability and talent combust in harmonic cadences then I recommend this album to your delight. This is perhaps as close as Barbra gets to doing Rhythm and Blues: Pop Rhythm and Blues. It is a fun album.

A 70'S MOMENT
Sreisand can sing. This CD captures the easy feel of early 1970s pop. This CD is a great POP collection of songs yet underated and ignored by many fans of that musical era.

More interesting than entertaining.
Possibly the most controversial album of Streisand's long career, BUTTERFLY is ultimately more interesting than it is entertaining. While Jon Peter's production received a lot of criticism at the time of the record's release, he actually does a commendable (if sometimes overdone) job for a first time producer. The only major gripe that I have with the production is that the gimmick of Streisand overdubing her own background vocals is overused (most noticeably on the opener, "Love In The Afternoon") and this device does grow tiresome.

However, if the album feels more uneven than many of Streisand's other efforts, then that has more to do with the song selection than anything else. Streisand sounds radiant on many of the cuts, especially her sexy cover of Bob Marley's "Guava Jelly," the intense delivery of the chilling "Grandma's Hands," and her gorgeous restraint on "A Simple Man." Barbra also excels on the bluesy cuts "Since I Don't Have You," "Cryin' Time," and the terrific album closer "Let The Good Times Roll."

Unfortunately, Barbra seems to loose her grip on the cover of "Life On Mars," the saccharine "I Won't Last A Day Without You" is one of the most spineless songs ever written, and some annoying vocal tricks mar the otherwise vibrant "Jubilation" (that's not a man singing the baritone part, it's actually Barbra's voice slowed down - kind of scary!!!). BUTTERFLY features some impressive performances that show off Streisand's versatility in a variety of settings, but in the end it doesn't really work as an album should and adds up to little more than a worthwhile curiosity.

A Relaxed And Experimental Babs
When this album first came out in 1974, it was treated
as a joke among critics and music industry people,
simply because Barbra's current amour Jon Peters was
given the producer credit. Up till that moment he was
known as a successful hairdresser and businessman, with
apparently no musical talent or experience. Who knows
how much control or input he really had on the project?
Tom Scott, coming right off a very successful run with
Joni Mitchell on her "Court & Spark" album, was enlisted
as musical coordinator. I think it's safe to say that
Tom was Barbra's main musical collaborator on this project.
And in retrospect, this album is very underrated. Yes,
at times Barbra tries too hard to "rock out", particularly
on David Bowie's "Life On Mars", but she does a good job
nonetheless. A few of the tracks are absolutely first-
rate, particularly "Love In the Afternoon", "Simple Man",
"I Won't Last a Day Without You" (which is the closest to

Barbra's classic 70's fare) and "Let The Good Times Roll".
And some of the less successful tracks like her attempt at
soul on Bill Withers' classic "Grandma's Hands" are, seen
many years later, interesting attempts at growth on Barbra's
part. This album is much more interesting and enjoyable than
several of Babs' later "Adult Contemporary" snoozers like
"Songbird", "Wet" and especially "Emotion", the absolute
bottom of the barrel. Those albums have very few decent
songs on them. "Butterfly", on the other hand, is fun from
start to finish. If you're a fan, you'll probably enjoy it! ... Read more

Reviews (3)

"An Evening of Music, Laughter, and Hard Liquor"
I think that subtitle describes this performance so well. This is a complete recording of a Live show from Dean Martin at the Sands Hotel, recorded February 8th, 1964. Lasting approximately one hour.

For those people who are into him singing songs properly, and not into his comedy, then you may want to give this one a miss. Since he only really manages to finish a few songs here without interruption. The act is basically him playing drunk, while going through songs, altering the words now and again to bring comedy to the show. Sometimes starting a song, and never even finishing it. There are plenty of monologues, full of jokes about his celebrity friends, like the great Bing Crosby (and of course Frank Sinatra). They are extremely funny, but this joking around, and not so much singing, will not appeal to all his fans. I might add though, that if you listen to more of his live performances, you do realize that the jokes are very similar, but then again, it was just an act.

The sound quality is pretty good. Well, in my opinion, it is very listenable throughout. Its not exactly great sound, but good enough, for sure. Since its not serious singing, it doesnt matter that it isnt the best anyways. The CD also includes liner notes (like most CDs do).

So basically, if you want to hear Dean Martin sing properly, buy one of his studio albums. But if you are one of those people who loves his comedy also, then this is a must buy. One of the best albums you could own. Highly recommended.

Try it with a good chianti.
Though it will always sound best being blasted from Tony Soprano's yacht just off of Whitecaps, this live set is a classic.

Dean Martin's live shows were, of course, fantastic. A great mix of humor and serious moments, they were always tied together by Dino's great voice and his joy in performing. Live at the Sands captures this.

This is the kind of CD that could actually be the focus of an evening. Gather some friends around, turn off the TV, lower the lights a bit, and pop open a bottle of Chianti. Hey, it's amore.

Dino at his coolest
This is a great piece of showbiz history. It makes you feel like you are back in the sixties. Dino is in great voice and having a lot of fun. CD is high quality and very clear. He sings That's Amore, Memories are Made of This, Volare, Evening in Roma, Boat to China, and You must have been a Beautiful Baby in full. Everything else is a joke. This is a must for any true Dean Martin fan. ... Read more

Reviews (10)

A great Mother's Day gift!
This is a great selection of songs. It's so hard to find happy and positive music these days, and this CD has such tender songs, perfect for a mother's day gift or for anyone who wants a happy feeliing.

Grammy Rosemary sings about her girls...
It doesn't take a rocket scientist to figure out that it is a very mature and loving grandmother who is singing about her girls on this album. Just carefully pick out a bunch of songs that suit her voice, make sure that they connect with the theme of "Mothers and Daughters" and away we go!

While Clooney once again chooses only those songs that fit her voice like a silk glove, the opening number, "Thank Heaven" (for little girls) may have been a necessity rather than flattery. All the other songs were pleasant to hear and complimented Grandma Clooney in only the best way possible.

I couldn't consider this to be her absolute best work, since I found so many of her other editions more entertaining. For the Clooney collector, it is a must have. I vote that you add it to your collection and enjoy it for what it is worth.... A tribute to her little girls!

"reflections of love for her family ~ Girl Singer!"
There is no better interpreter of lyrics than our Rosie, the "Girl Singer" ~ has the rare ability to put herself so completely in a song and make it her own. What other performer takes great songs, mixing them with her velvety rich voice ~ providing inspiration and powerful emotion.

Opening track ~ "THANK HEAVEN FOR LITTLE GIRLS", is touching sentiment with the women in her family (daughters/grand-daughters/sister-in-laws/sister) ~ how seldom Rosie has told them, but with this album and through music they will cherish and love every selection. Must make mention of the final track ~ "SISTERS" (Irving Berlin), performed by Rosie & Betty Clooney with Paul Weston & His Orchestra/recorded June 23, 1954 ~ the harmony is so instinctive that if Rosie coughed, Betty would find a third for it.

Want to thank ~ John Oddo (producer/conductor/arranger/pianist) ~ Glen Barros, John Burk & Allen Sviridoff (executive producer) ~ Leslie Ann Jones (recorded/mixer) ~ and Concord Jazz for this look into the inner most feelings of this legendary "Girl Singer"!

Total Time: 55:16 on 17 Tracks...Concord Jazz CCD-4754-2...(1997)

Charming and Sweet with a Touch of Sly
This is a fine cd. Rosie's voice has mellowed over the years and on this recording it is dark and has a touch of the velvet fog in it, but it works. The arrangements range from simpler guitar accompaniment (Turn Around) to big band sounds (That Face and others). The arrangements are solid and work within the framework of the songs. Songs that can take bigger sounds get them and those that can't are done more simply. I have arranged music in the past and I don't see much of anything wrong here.

There is a lot of personality in the music and in the performances. While her voice isn't as crystalline as it once was, the nuances Rosie puts into lyrics make up for it. You can "hear" the twinkle in her eyes when she sings "Sisters". She also handles "God Bless the Child" with a lot of soul. The Irving Berlin tune "Always" is here and I'm glad. It's an incredible lyric that is perfectly handled musically. The arrangement here is light and open, delicate and done well.

You have to like Rosie to like this cd. I don't think this collection will make anyone a convert, but in terms of selection and quality of performance, this is a good one to add to your Rosie collection. It is also a great one to listen to with your mom!

This cd was a big turn off, it could have had better results
This cd seemed doomed from the very beginning. Let me try to explain. For starters, it used a lot of electronic instrumentation. I would have preferred acoustic instrumentation. Next it used a very weak repertoire that I didn't know very well. Oh, I knew a few of the songs, but nearly enough of the songs performed.

For the bright spots, I thought Rosie sang well. Her pianist John Oddo did do some great arranging on some of the songs. Her band also gave some good performances on some of the songs. All and all, I was disappointed in this project. I felt like it should have and could have been better.

Recommendation: I Can Not Recommend This CD ... Read more

Amazon.com essential recording

Recorded while he was still a 20-year-old piano bar junkie in New Orleans, Harry Connick Jr.'s second album sweeps along with a stripped-down, heartfelt flair. This set of mostly unaccompanied piano and vocal music tracks features a variety of jazz standards, often pointing to Connick's Southern heritage. It's no coincidence that the best of these, "Do You Know What It Means to Miss New Orleans," features a slow, sweaty organ solo from Dr. John, guest-appearing here with several other jazz veterans. The presence of such luminaries grounds the young man, producing some of the best work in his entire catalog. Consider the vocal he shares with Carmen McRae on "Please Don't Talk About Me When I'm Gone." The song springs to life on McRae's entrance, and Connick delivers a smooth duet around her familiar vocal colorings, tickling rich accompaniment from a dusty piano. The whimsical quality that Connick often brings to his work is here also, most notably in a touching rendition of "If I Only Had a Brain." Imbuing the Tin Man's lament with low, quiet chords and a warm, vocal treatment could seem silly in another artist's hands. Connick reaches just a little lower and finds the melancholic heart at the song's core. It's a fittingly personal take, from a young man looking to fulfill his own promise and discover his own voice as a musician. --Matthew Cooke ... Read more

Reviews (7)

Essential Harry
I like Harry Connick's big band work, and even some of his more experimental pieces, but this is essential Harry. I was born and raised near New Orleans, and good jazz and blues were standard fare for us growing up -- other people had nursery rhymes;we had Jelly Roll Morton and Satchmo. This album is vintage jazz/blues -- all you need to add is a smoke filled room and someone to snuggle with. It includes the classic "Do You Know What It Means to Miss New Orleans" featuring the inimitable Dr. John, making this Crescent City favorite a standout piece. Mr Connick takes several standards, like "Avalon" and "Blue Skies" and makes them his own, using amazing piano work. His version of "If I Only Had a Brain" is almost tear jerking in its heartfelt halting phrasing, while "Imagination" is bautifully done -- you can hear the longing and insecurity in his voice. This is the album you want to slow dance to next to the fireplace with your one true love. If I were told I was going deaf next week, this would be the last album I would listen to, to imprint its rich and yet sparingly simple tunes on my memory.

20
IT WAS VERY DISAPPOINTING. IT COULD HARDLY HAVE BEEN MORE
AMATEURISH. IN MY OPINION, HE IS AN OUTSTANDING ARTIST. IF
I HAD HEARD THIS CD PRIOR, I WOULD NOT HAVE CONSIDERED
PURCHASING IT. ALTHOUGH THE PIANO IS PLEASANT, THE VOCALS
ARE AWFUL.

20 Out of 10!
This is still one of my favorite albums from Harry Connick, Jr. My other favorites are Songs I Heard, We Are In Love, and When Harry Met Sally.

For me, Harry sounds best playing a New Orleans swing sound, rather than the fusion and guitar stuff on his later albums. Harry is at his best when he sounds more like Louis Prima or Louis Armstrong, two of my all time favorites for the genre. I wish he would recognize that he has a fan base that looks to him for this kind of music.

I recently saw Harry at Wolf Trap in Vienna, VA, and he put on a great show, although he did linger a bit too much on some of the guitar based stuff. I can listen to anybody play guitar, but no one can play good jazz and make it swing like Harry - when he wants to!

How to Make a Woman Delirious in 5 Notes or Less
I got this album when I was 14, more than a decade ago, and is still one of my top 3 favorite albums ever. It is my desert island album.

Harry makes playing the piano sound easy, as if the music just happens when he waves his fingers over the keys. The lyrics pour out effortlessly, melting from despair and sorrow (If I only Had a Brain) to longing (Do You Know What It Means to Miss New Orleans) to playful indifference (Do Nothing Till You Hear From Me). The man is simply a musical genius. And he did this when he was twenty!

This is classic old New Orleans - as if you wandered into a sleepy Bourbon Street bar after hours in 1940. Just thinking about it makes me woozy for a strong shoulder to rest my head against as we slowly sway across a small dance floor in a smokey club.

You don't even have to like jazz to love this album. After one listen, I bought everything else he had, then went through my dad's old Sinatra albums.

Buy this album or spend the rest of your days knowing you have no appreciation for the finer things in life.

Hear Where It All Started
In 1988, Columbia Records took a chance on a kid from New Orleans named Harry Connick Jr. And very soon into the album you'll understand why. His blend of good ol' New Orleans jazz and ragtime in "Avalon", will make your jaw drop. His rendition of "Blue Skies" sounds like it is impossible to play but easily rolls off the keyboard. His carefree style is refreshing and relaxing. It gives you the same feeling as sitting on a porch or by the pool with a tall glass of lemonade on a hot, lazy afternoon. The third track, "Imagination", introduces us to the voice that drove crowds to the record stores to pick up "When Harry Met Sally".

One of the standout tunes on this album is "Do You Know What It Means To Miss New Orleans." On this tune Harry is joined by one of the greatest Creole musicians, Dr. John. Not only does the good doctor lend his singing talents to this piece, but he also gives a soulful organ solo.

For those of you who love Harry's big band sound, I'm warning you, you won't find it here. It's just Harry on piano joined by Robert Leslie Hurst III on bass. But even without the big band, this album is a winner. Pick up this album, sit back, relax and enjoy. ... Read more

Album Description

Contains all the classic hits from the King of Calypso. 23tracks. 1999. ... Read more

Reviews (1)

My long search is over
I been searching for years for a song on this CD. A wonderful collection of Belafonte classics and some more obscure recordings. I really enjoy his version of some old folk songs. ... Read more

Amazon.com

This 16-CD set collects all of Ella Fitzgerald's Songbooks, a monumental tribute to the American popular song and its greatest composers, recorded for Verve between 1956 and 1964. There is likely no other singer possessed of the mix of talents that Fitzgerald brought to the project, a combination of sheer vocal technique, creativity in phrasing and rhythm, and fidelity to lyrics and intent. The sheer scale of the project contributes to its value, for Fitzgerald went far beyond the standard repertoire, rediscovering little-known gems by many of her subjects: Cole Porter, George Gershwin, Jerome Kern, Harold Arlen, Rodgers and Hart, Johnny Mercer, Irving Berlin, and Duke Ellington. The discs of Ellington material still stand out, illuminated by the presence of Duke and his band. They put Ellington, a master melodist as well as a great composer, in his rightful place in the pantheon of American songwriters. --Stuart Broomer ... Read more

Reviews (15)

okay, so why haven' t you bought this collection yet?
Is it the cost? Buy it anyways. This collection is worth the next 100 cd's you think you might buy. Every song is great, and Ella sounds like all of these songs were written for her specifically. How did she pull it off? The Ellington, Porter, Gershwin, and Kern songbooks are all brilliant taken individually, but the amazing thing about this collection is all of them put together with the 'lesser' songbooks and you have the best collection of popular music ever recorded. Count on it! There will never be another like her.

5 Stars Are Not Enough
This staggering 16 disc, extensively annotated collection, is well worth the hefty price-tag. Virtually a musical museum unto itself, this set would make an ideal time capsule. All the great songs from the best popular songwriters of the first half of the 20th Century are represented here, and sung brilliantly by the fabulous Ella. Stunning arrangements played by superb musicians. If my house were on fire I would rescue my dog first and this box set second. For those who don't want to spring for the whole collection, these songbooks are available as separate units. I recommend starting off with Ella's Rodgers & Hart Songbook: it is the finest of all her songbooks, with her Cole Porter set running a close second. Also, the "Best of the Songbooks" CDs are quite good, though I have some alternate favorites not included there.

The best thing you'll ever buy.
Really. The best thing you'll ever buy.

BOXSET IS NOT COMPLETE!!!
As good as this boxset is, it is not complete. Heart and Soul, one of her finest ballads is missing for example.

A real gem!
Despite its somewhat hefty price tag, this 16-CD collection is a true must-have for fans of the Great American Songbook (old and new).

Aided by the likes of Nelson Riddle (Gershwin, Kern, Mercer), Duke Ellington, Paul Weston (Irving Berlin), Billy May (Harold Arlen), and Buddy Bregman (Porter, Rodgers and Hart), Miss Ella demonstrates why she'll always be the "First Lady of Song."

Of course, each songbook is sold separately, but to have them all in one collection...wow!!! ... Read more