Reviews (22)

Get Ready to be Blown Away! Amazing!
I stumbled upon this collection by accident and was totally blown away. I don't think a better ever singer ever lived than Ella, and these songs are one amazing performance after another. A lot of fun!

She opens with the swinging "Mack The Knife" and moves on to one amazing performance after another. Her version of "Misty" is unbelievable. You have to hear it.

Listen to her completely destroy any other contenders to "best singer of all time" with astonishing scatting on "How High The Moon." It's almost unreal, but actually recorded live in Berlin.

You have to hear this CD!!

Amazing!

A Good Taste Of Ella
Ella's recording library is immense and one CD cannot begin to paint a picture of this lady's talent. But this album will give you a very good taste of Ella. The album begins with "Mack The Knife", not one of my favorite songs. But Ella gives a great performance, enhanced greatly, by forgetting the words and ad-libbing. She sings that she can't remember the words to the second verse and just starts making up something and it results in a very good time for the listener. A great way to start off this album, it's fun and enjoyable. That was, indeed, pure Ella.

"Blue Skies", "They Can't Take That Away From Me", "The Boy From Ipanema", and "Over the Rainbow" will take your breath away. Ella's smooth, singing always melts me. And if it's scat you want, "You'll Have To Swing It (Mr. Paganini)", "Take The A-Train", and the classic "Lady Be Good" will leave you wanting more.

This is a great collection and I prefer the collections that mix up the variety of her recordings rather than showcase only one style.

It's a must if you want a taste of pure Ella.

The Best.
Ella is without question the greatest American singer of all time. Buy this one, buy any of them, buy them all. She never made a bad album. She opens her mouth and heaven flows. I would also suggest any of the biographies, including some on dvd with performances. This diva was, IS, the real thing - with a heart to match the voice.

This Fella Loves Ella
Ella is an extraordinary and refreshing exception to most Jazz vocalists. Many Jazz singers have a very bad technique, producing their sound from their throats in an unhealthy manner. Ella, however, has the technique and stamina of a classical singer. This why her career peaked in her 40's and was able to sing until very late in her life.

Her singing is pure joy. She never strains or manipulates her vocal chords to produce that gorgeous, rich voice that just melts your heart out. The ease and beauty with which she sings, frankly, makes me question her humanity.

If you want the best of Ella Fitzgerald, THIS CD is it. It is the premiere comprehensive single-CD sampling of her career. The recording features some of her best collaborations with arrangers (Nelson Riddle, Billy May, etc.) and performers (Louis Armstrong, Duke Ellington, and Count Basie.)

The musical selections are excellent. The Verve label has chosen a balance of 9 high-energy swing numbers and 9 romantic ballads.

Some remarkable swingers are MACK THE KNIFE, a live recording in Berlin (1960) where she blanks out on a verse and has to improvise. I'm smiling thinking about it. Another is HOW HIGH THE MOON, in which she scats incredibly for about 6 minutes. Throughout the rendition she adds (and revises) brief tidbits of random American standard songs, like SMOKE GETS IN YOU EYES: "They ask me how I knew my true love was true/ I have course replied, 'Something here inside...SWEAT gets in my eyes!" Ella enjoys entertaining while she sings, and her infectious interpretations pull the listener in; especially on the 5 live recordings on this CD, where one finds himself laughing along with the audience at times.

Stunning ballads include MISTY (with her musically sensitive accompanist Paul Smith). Wow! Her lyricism, intonations, and diction are impeccable. Here she sings in a hushed soft fashion that is like she's whispering in your ear. SOMEWHERE OVER THE RAINBOW features its great, not often-heard verse, and such sincere, expressive singing.

Buy this now. Ella will really impress you!

Now this is the yummiest.
Ella is so truly talented and her voice is so lovey...I can't get enough of you Ella! I pray that God himself will loan me your voice long enough to satisfy my hearts wish to sing like the Queen, her Majesty, Ella Fitzgella. Alright, I'll settle for the CD. ... Read more

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Originally released in 1971, Willy Wonka & The Chocolate Factory was an imaginative film that drew as much inspiration from the leftover vibes (and drugs) of the psychedelic '60s as it did from Roald Dahl's fanciful children's book, Charlie and the Chocolate Factory. If you doubt it, check out this special 25th anniversary edition of the original soundtrack album, which features lyrics and music by Anthony Newley, who was a major influence on David Bowie and whose work on this film has clearly inspired '90s rockers from Veruca Salt (who took their name from the spoiled rich girl) to the Butthole Surfers (who could easily cover the sinister, trippy "Wondrous Boat Ride". C'mon, everybody, let's sing: "Oompa loompa/Doomp-ity-do/I've got another lesson for you...." --Jim Derogatis ... Read more

Reviews (17)

Songs from the Candy Man.
WILLY WONKA AND THE CHOCOLATE FACTORY is a charming movie. This soundtrack to the film is a delight to own for any fans of the film. My favorites on the album are:

"Golden Ticket"

"Candy Man"

"Pure Imagination"

"Oompa Loompa"

My only complaint about this album is that the tracks aren't organized very well. For example, except for the first "Oompa Loomp", the rest of the "Oompa Loompa" songs are at the end of other tracks so you have to fast forward or rewind to find what you're looking for. Also, there is a lot of dialogue and sound effects contained in some of the song tracks. I'm glad it's on there, but it would have been better if the dialogue and sound effects were on separate tracks than the songs. However, if you can deal with those little nuances, this is a wonderful cd to own.

I think it's a really great cd.
I think it's a really great cd, because it takes my back to my childhood. I grew up listening to the soundtrack and watching the movie. After I hadn't seen the movie or heard any of the songs for years and found a friend's brother had the sound track it really went straight to my heart. I remember when I was a little girl and I used to watch it and sing along to the songs to get rid of my anger, fear or whatever I was feeling that was a bad feeling. This was my favorite movie/soundtrack growing up. It's really great to know that some place actually has the sound track.

Pure Genious
This cd is absolutley AWESOME!!!!!!!! i love the movie, i love the book and the music defintly plays a big part of how the movie is. I can listen to this over and over and over again. Seriosuly, you should get this cd. it is abosutley amazing. i was so excited when i bought this because i could listen to the songs as many times as i wanted.

Cute Songs!
Willy Wonka and the Chocolate Factory is a great movie and this is a good soundtrack though I agree that it would have been better if the sounds from the movie had seperate tracks like has been done on other soundtracks on CD that include sounds and dialogue from movies but it's really nice to hear the cute songs from this movie especially Candy Man which was one of my favorite songs when I was a kid in the 70's though as a child I grew up listening to Sammy Davis Jr's version of Candy Man but the version from the movie is good too and I highly recommend this soundtrack.

Willie Wonka CD Soundtrack
I love this music. It was my favorite movie as a kid. Now my two sons 9, and 4 love this movie and music. I love to see them sing along to the music and its a fun and educational music. I recommend it highly. ... Read more

Amazon.com

Inside the CD jacket for Knowing You, John Pizzarelli is pictured barefoot in a summery suit, his shirt untucked. The image nicely captures his unbuttoned approach to popular song. He doesn't have the strongest voice (his scat threatens to vaporize) and doesn't pin back your ears on guitar, but he gets inside the songs with such knowing ease and is so attuned to the demands of cabaret and jazz, he's difficult to resist. This time out, he goes beyond the constraints of his working group--which frequently includes his legendary father, rhythm guitarist Bucky Pizzarelli--to feature tenor saxophonist Harry Allen, clarinetist Ken Peplowski and pianist-organist Larry Goldings. Allen's Getzian solo helps transform the Beach Boys' "God Only Knows" into a surprisingly effective vehicle. Pizzarelli and his wife, Broadway singer Jessica Molaskey, make Dave Frishberg's "Quality Time" a workaholic's delight. And there are first-rate renditions of Loesser and Kern, Cahn and Gershwin, making this one of Pizzarelli's best albums. --Lloyd Sachs ... Read more

Reviews (4)

What a Delight
I recently purchased this album from John Pizzarelli.I found it through some radio promotion and the nudging of some friends, and let me tell you I was pleasantly surprised.I know what I like, and this album has it all!Great guitar, vocals, rhythms, everything...purely great music!!!I truly enjoy this album every time I put it on, and have a hard time even taking it out of my CD player.I would recommend to anybody who enjoys great music!

Another Pizarelli gem
He's done it again.What an enjoyable album.Full of humor and a lot of suprises, expecially on lesser known songs.He somewhat manages to make theme his own.The additional vocals of his wife is pure pleasure. Can't wait for more from Mr. Pizzarelli

John Pizzarelli - theCrown Prince of Jazz
From his very first release on vinyl (I'm Hip) to this exciting new CD, Pizzarelli is a master at what he does. "Coffee, Black" is a brilliant discovery, perfectly suited to his off-the-cuff delivery of the trickiest lyrics. Even his own compositions are maturing; on this album, "The First Hint of Autumn" evokes the arrangements of jazz great, Pat Methaney. For those who say his voice is light, I say phooey!He picks repertoire that showcases his large range and masterful command of words; these days we forget that ennunciation is an important skill for a singer!His guest artists perfectly compliment Pizzarelli's own style; particuularly the tenor sax and the vocal interplays with his wife, Jessica. All around, a gorgeous collection.

solid jazz
For all you naysayers and skeptics john Pizzarelli and his band (Martin Pizzarellli, Ray Kennedy) are the real deal. This isn't watered down vocal jazz that tries to pass itself off as something its not. Every one takes great (all be it short....) solos. Big thumbs up for Ray Kennedy here (piano). I usually prefer the more upbeat tunes and the swingers... "Knowing you" has far more of those then on John's previous disks. This disk also sounds much cleaner then other telarc recordings ( good production value )... Throw in a bunch of great guests like the virtuoso and terribly underrated clarinetist Ken Peplowski and Larry Goldings (organ) and you have a disk that's worth the cash done in a style that is all too scarce in this day and age of jazz that tends to over intellectualize. ... Read more

Amazon.com

For one brief, shining moment, there was a place known as Camelot--and this 1961 recording is the only document available of JFK's favorite musical, the one that's been used to describe his presidential administration ever since. Truthfully, Lerner and Loewe's musical score for this retelling of the King Arthur story doesn't measure up to My Fair Lady, which was still playing when Camelot opened on December 3, 1960. That being said, the three principals here were stronger musically than their 1968 film counterparts--Julie Andrews and Robert Goulet (who became a star as Lancelot, thanks to "If Ever I Would Leave You") could sing, while the pre-Liz Richard Burton could recite those great lines with Shakespearean flair, even if he never scored a hit with "MacArthur Park." --Bill Holdship ... Read more

Reviews (39)

simply the best, by far
Now with improved sound, the original Broadway version blows away the competition. Richard Burton, a remarkably good singer considering that he had never taken a singing part before, is the definitive King Arthur, Julie Andrews is unsurpassed as Guinnevere, and Robert Goulet is wonderful as the self infatuated Sir Lancelot. After his "C'est Moi" (featuring the title line of this review), why would anyone else bother to perform it? The musical itself is of course one of the greatest of all time, with the title number, How to Handle a Woman (sounds a bit sexist, no? but it really is a beautiful love song), and What Do the Simple Folk Do? being my personal favorites. Even if you are not nostalgiac, this is great, great music.

Absolutely beautiful--a work of genius
Where to begin with this lovely work of art? Well, I suppose we must begin with the actors...

Richard Burton, as Arthur, is stunning in his powerful, lordly acting, is incredible, and he sings so well that I find it astinishing that this was his first singing role. Julie Andrews is as wonderful as Guinevere as she is anywhere else, perfectly distilling both the joy and wit of "Lusty month of May" and "You may take me to the fair", and the quiet melancholy of "Before I gaze at you again" and "I loved you once in silence". Roddy McDowall is impishly delightful as Mordred in the deliciously profane "Seven deadly virtues". But Robert Goulet's proud, passionately performance, very reminiscent of Richard Kiley's Don Quixote a decade later, has made Lancelot, potentially a boastful, insipidly sappy boor, into my favorite character from "Camelot".

Since there is little of the play's dialogue on this CD, the other aspect of its greatness is the songs. Guinevere's slow, tragic romantic ballads are a bit bland, but they have quite clever lyrics and are stunningly well-performed by Julie Andrews. Still, my favorite songs remain "Ce'st moi", Lancelot's self-praising solo, and the heart-rending finale, "Camelot (reprise)". Ironic, isn't it, that the song I like the least is the original version of the song "Camelot".

Also high on the list is the sardonic, maliciously hilarious "Fie on goodness", which is sung by Arthur's traitorous knights, and which gives a rather persuasive argument in favor of the human need for sin and guilt. Yet more favorites are the bitterly tragic "Guinevere" and the joyous "Lusty month of May", both of which are a true joy to listen to. The only songs that are lacking are "Camelot" (although, as I said, the reprise was stunning), and "The simple joys of maidenhood", whose brilliantly witty lyrics are marred slightly by a rather lackluster tune. Still, this CD comes highly recommended, as even those two songs are quite adequate efforts, and there is not a single song truly lacking in value. Get this CD; you'll almost certainly enjoy it (unless you're a cretin entirely lacking in good taste), and it is certainly the best performance of this musical available anywhere, at any place or time. Richard Burton IS Arthur! Julie Andrews IS Guinevere. And Robert Goulet is DEFINITELY Lancelot! Ce'st moi forever! Camelot forever! And for the last time--leave this review, go back to the top of the page, and GET THE CD! _NOW_!

Julie Andrews and Richard Burton in fine voice
CAMELOT, the ravishing musical re-telling of the King Arthur legend by Alan Jay Lerner and Frederick Loewe, has never sounded better than in the original 1960 Broadway cast album, now happily reissued on the Columbia Broadway Masterworks label. Richard Burton, Julie Andrews and Robert Goulet lead the cast as the troubled love-triangle of King Arthur, Queen Guenevere and Sir Lancelot. Julie Andrews, fresh from the London production of MY FAIR LADY, is in glorious voice and sings some of the score's best numbers like "The Simple Joys of Maidenhood", "The Lusty Month of May", "Then You May Take Me to the Fair" and the achingly-poignant "I Loved You Once in Silence". Richard Burton has an attractive singing voice (remember, he was a Welshman!), and has a ball with numbers like "I Wonder What the King is Doing Tonight?" and the Title Song. Robert Goulet delivers the definitive "If Ever I Would Leave You". CAMELOT enjoyed a modest run of 873 performances (modest in that the composers hoped to outdo their MY FAIR LADY success. MFL ended up running over 2, 000 performances). Out of the myriad of CAMELOT cast albums available, this is still the best of the bunch.

Spectacular voices, beautiful score, flawed, but lovely
The level of talent helped to elevate this overlong work to "classic" status. This is an unwieldy piece - it aspires to be operatic, but falls short. The book isn't wonderful, but the scope of the story is. It's one of those musicals, like Man of La Mancha, that has as many supporters as detractors. I love parts of this show, and these beautiful voices preserve it as it should be, not like the filmed musical drek that came later. I always get a little farklemt at the end....

Far from day, far from night...
I absolutely loved this recording and would reccomend it to any potential buyer. Even though i have never seen it performed, or watched the movie, Lerner and Loewe's brilliant musical has become one of my favorites, entirely on the strength of this recording. The music is sweetly pretty, and the lirics are superb, but it is the stars that make this recording such a timeless classic. Being a confirmed Julie Andrews fan means that I invariably enjoy her singing, but in my opinion she is at her personal best in this recording. The shine and the sparkle that shines through in such songs as The Simple Joys of Maidenhood and Take Me To The Fair, is unquestionably wonderful, even to those who dislike Julie Andrews. The other stars are equally talented. Richard Burton's voice is perhaps not astonishing, but his enthusiasm and energy fully makes up for this. Robert Goulet fully deserved the fame he recieved for If Ever I Would Leave You. The company songs are equally good. Guineviere, for example, is an excellent song. Indeed, I would go so far as to say that there is not a single song on this recording that is not a classic. A must have. BUY IT! ... Read more

Amazon.com

Released close to a decade after her death at 43, this live CD testifies to what made Nancy LaMott special to many cabaret lovers. The singer had a gentle, homespun manner rather different from the urban sophistication one so often associates with the classic American songbook. She sounded as if she didn't have a vindictive bone in her body and enjoyed the true worth of life's most basic pleasures with sincere optimism--no wonder she offers here a cleancut of Berlin's "I Got the Sun in the Morning." Backed by a discreet trio, LaMott is at her understated best on the more melancholy numbers, such as Rodgers and Hart's "I Didn't Know What Time It Was." The recording, which documents an entire show, banter included, also shows that LaMott was ahead of the game in the way she seamlessly mixed standards with modern pop (tracks by Rupert Holmes, Antonio Carlos Jobim and James Taylor). --Elisabeth Vincentelli ... Read more

Reviews (11)

From One Who Was There
Actually, I wasn't there, my wife was, so when she gets a chance, I'll have her write a review.She's told me so much about this concert, she'll be thrilled to know I'm ordering it for her.She said it was simply the best concert she's been to in her life. So if the reviewers are right that the recording quality and live environment on this album are superior, then this will be a hell of an album. And my wife was well aware at the time that Nancy was dying.

Six new songs added to Lamott's songbook--at last.
For those who have been waiting more than eight years for a new Nancy Lamott album, this release is hugely welcome.New songs featuring this great American cabaret singer, and some new treatments for old songs, add new depth to her work and revive all the sadness that she was taken so soon, at age 43, long before she'd fulfilled her musical dreams.Here, in this live CD, one has the opportunity to hear a concert, complete with her amusing patter, and to appreciate her almost palpable sense of connection with her audience.

Six new songs and five previously recorded songs shows Lamott in all her moods.Among the new songs, "Sailin' On" is now one of my favorite Lamott songs, a song of a child's dreams and the uncharted oceans one explores in sleep.A classical piano solo, "Bach's Prelude No. 11, in F," played by Chris Marlowe, Lamott's long-time accompanist, gradually leads to variations, until it turns into a surprising version of the Warren and Mercer "Jeepers Creepers."Lamott sings Lorenz and Hart's "I Didn't Know What Time It Was" slowly and passionately--as a person who has just found love, regrettably late in life (as was true in her own case).

Recorded just seven weeks before she died, the concert seems subtly directed toward helping the audience deal with her illness.The slow but emotionally upbeat "The Promise" features lyrics by Alan and Marilyn Bergman and music by David Shire, and Lamott's musical declaration that "I trust tomorrow as much as today...and I promise I'll never say good-bye" achieves enormous poignancy."Help is on the Way," written at her direction by her long-time producer David Friedman, and James Taylor's "Secret of Life," with its lyrics that "The secret of life is enjoying the passage of time...Isn't it a lovely ride?" all express her refusal to succumb to negative thoughts.

As always, Lamott is accompanied by Marlowe, whose piano accompaniments range from a quiet, elegantly melodic line in "Listen to My Heart" to a rich, fully developed, let-it-all-hang-out interpretation in "How Deep is the Ocean."The strength and purity of LaMott's voice, along with her control, allow her to give unique interpretations to songs, old and new.Her clear vibrato ranges from a soft whisper to full-out belting, though she never loses sight of her lyrics, offering unusual and gorgeous treatments.A vibrant woman and remarkable "saloon singer," Lamott leaves behind a great legacy, not only in her music but also in the strength she demonstrates in this concert.Mary Whipple

Thanks to Jonathon Schwartz and David Friedman
My first exposure to Nancy LaMott was via xm radio and Jonathon Schwartzs' Sunday afternoon simulcast on WNYC.The clarity of her voice and her wide melodic range raised the hair on my neck and goosebumps on my skin.I rarely can listen to any of her recordings without this reaction repeating over and over.

Live at Tavern on the Green is true gift for those who are Nancy's fans and the newly initiated.With less than a couple of months to live, she exudes such enthusiasm and a zest for her craft...which is why her talent will continue to be appreciated along with the great ones....Sinatra, Clooney, Bennett and all the rest of the performers that made the American Songbook the gold standard in music.

I cannot close without saying many thanks to Jonathon Schwartz for playing her music during the "embargo".It is hard to contain such a bright lamp under a bushel basket.And to David Friedman for writing lyrics/music that enabled us all to "hear the angel(s) sing".

Absolutely Inspiring
I just got this CD today and could not wait to play it.Every earlier comment here is right on target -- this is raw, essential, touching, human, and touchingly sad in retrospect.

I first was acquainted with Nancy when she performed at a (no longer existing) cabaret called 88's in New York back around 1990.She performed in solo in the evening but occasionally played and sang at their Sunday brunch.She was a remarkable and amazing talent way back then.To hear this magnificent album so many years after having loved 'the real thing' is an indescribable treat.

I highly recommend this album to anyone who can appreciate not only the best cabaret performer, but also perhaps the best interpreter of standards and ballads who ever graced our presence.

Fantastic - yet representative
As a cabaret goer in NYC, I had the pleasure of seeing Ms. LaMott over the course of 15 years at many smaller clubs, the rare concert and the high end rooms as her artistic/commercial appeal grew more popular. The venues were unique, the overall performances evelotionary but the musical genius was there from the begining.This Live CD not only captures Nancy at the pinacle of her recording career but is truly representative of a life given over to an artist's dedication to honest expression and the devotion to their craft. Nancy LaMott's artistic expression was/is singular, in my opinion, in its presentation of emotional truth and appeal to honesty. This CD is a very worthy introduction to an artist whose life, not her tragic death, engendered such devotion from a core group of dedicated "fans" - - really just people who yearn for emotional truths from an inspirational messenger.We need all the grace and redemption we can find nowadys and this CD, and Nancy, are a beacon that lights the entrance to the path that leads to a better place. Hopefully more lights will be lit and more songs will be heard from musical messenger. ... Read more

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A New Standard builds on the popularity of Steve Tyrell's appearances in the Father of the Bride movies. In addition to "The Way You Look Tonight" (from the Father of the Bride soundtrack) and "Give Me the Simple Life" and "On the Sunny Side of the Street" (from Father of the Bride, Part II), the album features Tyrell singing 14 more standards in a casual, gravel-throated style. A New Standard includes the final recorded performances of trumpet great Harry "Sweets" Edison, who solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Other notable guests include Clark Terry, Plas Johnson, Joe Sample, and Toots Thielemans. But the real keys to the album's success are the impeccably crafted arrangements of rhythm guitarist Bob Mann and Tyrell's unpretentious, warm-hearted vocal delivery. In contrast to so many neoswing wannabes, Tyrell approaches these timeless tunes with the R&B-bred soul of a gray-haired baby boomer who's just discovered his parents' record collection. In the jazzbo tradition of Louis Armstrong and Jack Sheldon, he doesn't try to blow anyone away with his chops. He just sings the songs with an infectious enthusiasm and easy swing that's impossible to dislike. --Rick Mitchell ... Read more

Reviews (121)

Truley Sets A New Standard!
I am a mother of two girls in their 20's and a daughter of a 75 year old woman. We are now all new fans of Steve Tyrell and absolutely love this CD. A NEW STANDARD has bridged the generations as nothing has before, we listen as a family at dinner and and whenever possible. This man has the sexy romantic approach that all women love, no matter their age. He is bound to be the next Tony Bennet and then some!! I love the song choices, the arrangements are unique and fresh and his voice makes it all come together, it seems so modern and not retro at all even though he respects the origins of this material greatly. I can't wait for the next one. Thank You Mr Tyrell for bringing romance, joy and fabulous sounds into our home.

Tyrell recreates the Standard.
If we have the movie "The Father of the Bride" to thank for this truly inexplicable disc, then please, make the sequels ad infinitum. "A New Standard" is built around popular classic titles that Steve belts out in the well-known movie. In addition, the listener receives a bonus of two tracks from "Father of the Bride, Part II..."Give Me the Simple Life" and "On the Sunny Side of the Street." Steve's gravelly voice gives these "old" standards new punch. Tyrell, a producer by trade, has previously missed his calling as he is an incredibly gifted artist. Regardless how late in the game it may be, the addition of Tyrell as a recording artist will ultimately be considered timeless.

In addition to creating a "New Standard," this disc is also monumental. The disc features the final recorded performances of trumpet god Harry "Sweets" Edison. Sweets solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Sweets was a prime player with Sinatra in his glory days. He passed on shortly after these recordings. If you haven't heard Sweets before, you're in for a treat. Quite a bonus, I'd say.

The best endorsement of this disc I can offer is that I own 3 copies: 1 for my office, 1 for my car, and 1 at home. And, while I can't vouch for it yet, Steve is releasing a new disc on or about October 2 entitled "Standard Time." I've already pre-ordered 3 copies.

Forget Rod Stewart!!!
Why are people buying Rod Stewart's recordings of the American songbook when they can buy this (and Standard Time). Stewart neither knows nor understands the material. Steve Tyrell fully understands the material and interprets it beautifully. This is no easy task. Anyone attempting this material must compete with the likes of Frank Sinatra and Ella Fitzgerald. Steve Tyrell pulls it off magnificently. But don't take my word for it. Just consider this: the late, great Harry "Sweets" Edison worked on this session. Sinatra and Fitzgerald always wanted Sweets on their albums. So did Billie Holiday. Sweets was Basie's lead trumpet player, and through their work with Basie, he also became a favorite of Joe Williams. If Sweets was willing to work with Steve Tyrell, then Steve Tyrell must be good.

Steve Tyrell: A Man On A Musical Mission!
I recently purchased this CD and have really enjoyed listening to it. Steve Tyrell is a man on a musical mission. He seems determined to acquaint a whole new generation of listeners to the beautiful songs from the Great American Songbook. His unique interpretations of these classic songs brings them back to life, and proves once more that these perfectly crafted tunes are truly timeless. This CD is great for dancing, listening, and especially when you want to be romantic.

If you are in the mood for some Bigger, Brassier, Swingin' versions of tunes from the Great American Songbook, I would recommend Monte Procopio "Swingin' With Style" CD. He is a great crooner that can really SWING and deserves a listen. Buy both these CDs, you can't go wrong!

Must have CD
Steve Tyrell is the best jazz musician that I've ever come across. He's amazing. His music makes me feel happy and alive! I own all of his CDs and have met him as well. He's gracious and charming. Definitely recommend all of his albums! ... Read more

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This recording was produced more than 40 years ago, only in mono, but from the day it was released it was a deserved phenomenon. It out-grossed the mega-hit show for months, and it still holds the record for the most weeks as a Billboard Top 40 album: 292. The reasons are many. Start with the 20-year-old Julie Andrews in peak voice, singing no fewer than eight sensational Lerner and Loewe songs, soaring most memorably to high C in "I Could Have Danced All Night." Rex Harrison perfected the art of talk-singing in a clutch of equally captivating numbers written especially for his voice, of which the most indelibly delivered is "I've Grown Accustomed to Her Face." And Stanley Holloway brought the best English music-hall style to an eager American audience with "A Little Bit of Luck" and "Get Me to the Church on Time." There were no scene-changers in Frederick Loewe's best score, and Alan Jay Lerner managed to fashion his libretto and lyrics so close to the language of George Bernard Shaw (on whose play Pygmalion the musical was based) that experts couldn't tell where Shaw left off and Lerner took over. Every song created character and advanced the plot. My Fair Lady was a show you "got"--and still get--on first listening--without having seen it. The London cast album (with the same leads) can give you stereo; the movie version, a fuller orchestra, Harrison and Holloway in full sail, and Marni Nixon dubbing Audrey Hepburn. But the Broadway cast album is still the one to have, and the one absolute must in any musical collector's CD library. --Robert Windeler ... Read more

Reviews (30)

Isn't this Loverly?
I was fortunate enough to see Rex Harrison in 1981 during his revival of "My Fair Lady," and even though Rex was way past his prime, the evening was magical. This original cast album from 1956 preserves forever this wondrous musical, where every single song is superb. There isn't a clinker in the bunch and that's saying something considering the record contains 16 songs, most of them standards. Julie Andrews soars, which is to be expected and it makes you tear your hair out that she wasn't cast as Eliza in the 1964 movie version.

"The Rain in Spain" is infectious and fun, you almost want to get up and dance as its sung. Even though Rex talk-sings his way through the album, he brings a charisma and charm that was his alone. Listen to the sly irony he brings to "I'm Just an Ordinary Man," and pay close attention to his show-stopping finale, "I've Grown Accustoned to her Face." The way Harrison places a poignant stress on the word "face" will stay in your memory forever.

This is a much superior version to the movie soundtrack and it should be required to round out any serious record collection, no matter what the genre. This is the soundtrack by which all others should be judged, it's magnificent!

ESSENTIAL: THE BEST MUSICAL OF THE 20TH CENTURY
Earlier, I had written a review of the 1959 London Cast Stereo recording of "MY FAIR LADY." Many amazon.com customers seem to prefer the original Broadway Cast recording to the later London Stereo LP. I'm such a "Fair Lady" fan, I have both discs. The disc I'm reviewing here is a Gold Disc with an extra Bonus Track. Columbia Records president Goddard Lieberson conducts post-recording interviews with Rex Harrison, Julie Andrews, lyricists Alan Lerner and conducter Franz Allers. Liberson states that "FAIR LADY" is "possibly the most successful musical of this (20th) Century." He got that right! Here, you hear Rex Harrison give a full out performance, when he was still excited by the material and everything was fresh and new. Boredom set in afterwards. Harrison growls and grunts his way through Higgins' songs on the London Cast Album, and in the 1964 film version (for which he received an Academy Award), Harrison couldn't be more listless, static, and boring; giving a one-note "phoned in" performance. Much better than Harrison, in any case, is Julie Andrews; then on the brink of her brilliant career. She is best at full fire and music, exploding with fury and rage in "Just You Wait! " and "Show Me." Simply put, Julie Andrews is the best Eliza Doolittle of all time. Added to all this is a delightful dash of Stanley Holloway. For pure freshness and vitality, you can't beat this original recording of MY FAIR LADY. And the Post-Recording interviews make this an irresistable treat, not that everything else wasn't enough!

The London Recording is Better
I recently purchased the Broadway recording, then turned around and got the London cast recording (both with Rex Harrision, Julie Andrews and Stanley Holloway). Though the recording has wonderful music, the recording was nevertheless just so disappointing, and not the way I remembered it. The latter recording isn't nearly so measured. It's far more vital, witty and sarcastic. I highly recommend it.

Julie is better
If only Julie Andrews had been chosen for the movie version of My Fair Lady, this film would've swept the Oscars...not that Audrey Hepburn didn't do an amazing job, but the singing is just not the same. While Julie picked up the Best Actress Oscar, Audrey didn't even get nominated. Of course, Audrey had her voice dubbed by Marni Nixon.

But enough of my fuming, the songs:

Rex Harrison is a delight, though his singing abilities are limited, his enunciation and clear, British english makes all of his numbers absolutely delightful.

Julie is, of course, the highlight of this album. I am an avid fan and positively adore her voice. This recording was made in her younger years, therefore you can really hear the clarity and crystalline quality of her voice. My personal favorites are "I Could've Danced All Night" and "Just You Wait".

The supporting cast is also very strong. Stanley Holloway's "Get Me To The Church On Time" shows off his deep baritone. The man who plays Freddy (I forget his name) is also very good. "On the Street Where You Live" is also one of my favorites.

To those who enjoy this album, I recommend "The Music Man", "Sound of Music", "Cinderella", and "Mary Poppins".

A perfect cast album from a perfect show
MY FAIR LADY is understandably the world's most beloved musical. Based on one of Shaw's great plays, with Lerner & loewe's finest score, put on stage with the perfect cast, and opening on Broadway at just the right time: late in what had been a very disappointing season for musicals.

This original Broadway cast album, made just days after the premire, captures all the freshness and excitement of the triumphant opening. (Avoid the London cast recording which has teh same cover art but printed on a gold background. The ORIGINAL original cast album with the white cover is the one to get!)

This Cd hardly needs my endorsement. It's been a best-seller for 48 years now. ... Read more

Reviews (8)

A misunderstood and underappreciated national treasure
One of this country's most renowned singers is also one of the most misunderstood. And no, this is not a cheesy segway into her great version of "Don't Let Me Be Misunderstood." Nina Simone was never as popular as she should have been due her strength of refusal to be a puppet for neither record company executives, racism, and even the audience's refusal to support a talent who refused to be pegged as either solely a jazz, soul, blues, gospel, standards, or Broadway artist. Her story in a way is similar to Tina Turner's in that she eventually got fed up and felt she needed to leave the US to make the most of her life and not to suffer some of the hardships/prejudices that some would like to sweep under the rug for people.

But what about the music? Well one listen to this remastered 2 CD collection will give any fan or future convert an overview of a versatile treasure who could sing the most tender and elegant of songs and immediately display her anger and frustration, especially when it came to issues surrounding the Civil Rights Movement. The common denominator that I found in hearing all these treasures was a certain elegance, soulfulness, and pride that left do doubt about her feelings regarding any song she was singing. On the other hand, she never resorted to the histrionics of other singers and both her pain and joy were tempered and best appreciated by listening very carefully to the way she uses silence as much as her voice to interpret any given song.

It's amazing that Simone sounds equally good in both studio productions and live performances, and this collection is peppered with many of both. In a nutshell, I think that this is a must have collection and that with the exception of a few covers towards the end of the second CD (Here Comes The Sun and Rich Girl), is perfect. Since I was not around during her most productive period, I am not sure if any of her essential songs are missing, so if you've been are a hard-core fan, consult the song list to make sure that none of your favorites are missing.

Although not relevant to this review, I think that those who love some of the artists thoughtlessly clumped as "neo-soul" artists, owe themselves the pleasure of listening to some of the masters to get a better un understanding and perspective to the music that they listen to. I am amazed by how great treasures like Sam Cooke, Marvin Gaye, Etta James, and Stevie Wonder (just to name a few) still sound fresher than much of what is hailed as the cream of the crop these days. If for example, you were one of the millions that thought that Usher's latest CD was good, give the masters a listen and you may find that it would not sound odd to burn a mix that may have Prince, Lena Horne, Van Hunt, Nina Simone, Seal, and ______ (fill in with your favorite(s)) sitting side by side and the result would be more cohesive than those alleged best of compilations that records companies love to release. One listen to "Mississippi Goddam" and you may never be the same. Nina Simone died in the South of France in 2003, but her music makes her sound more alive than many of the lesser singers who self-pen themselves as "divas." Simone may have been misunderstood but with time we are all catching up to all the singers who matter and she stands at the front of that line.

Masterful
Fantastic compilation. However, I was very upset that my favorite Nina Simone song was excluded, the wonderful "Wild is the Wind". Why that song is not in her anthology is beyond my understanding.

Astonishing
Nina Simone. This collection of her work might just be the best 2 disk compilation of music ever made. There is not a song on here that can be called anything but outstanding. Ms. Simone makes even the most standard of torch songs huanting and compleatly new... she takes classic blues ideal and makes them complex works of classical philosophy....

as a guy raised on indie rock and folk nina simone early on became and important break from the norm. It is impossible for anyone to not like her.... i just cant see how there could be a single human alive that would not appriciate this collection of her work in their library..... FOR THE BETTERMENT OF HUMAN TASTE PLEASE BUY THIS!!!!!

good
This woman sings and you believe every word she is singing. She sings from her heart. She sings deep and from her gut. I feel transformed into a dark smoky lounge room when she sings. I really like her even though she sounds so sad when she sings.

Social activist's career neatly summarized
Young, gifted and black, Nina Simone had a lot of things she needed to get off her chest. Racial conflict, social inequality, political aversion - the passionate subject matter of her songs is as gritty as the voice that sings them. This anthology gathers a collection of material from a variety of labels and demonstrates Simone's two-sided mentality; namely, that of musician and poet. Guided by a subjective introspection, her songs dive head first into a political pathos with an unapologetic disregard for sweetness and simplicity. Their messages are harsh and candid, brutally confrontational; their titles are explicit labels of what issues are contained inside ("I Wish I Knew How It Would Feel To Be Free"; "Black Is The Color Of My True Love's Hair"; "Strange Fruit").

But that's only half the appeal. Simone's vocal delivery - often unfathomably overcooked - produces a dark, smoky and undulating quality to the proceedings that, curiously, travels further than the material often permits. The blues-cum-gospel musical arrangements are mostly uncluttered to lend a more engaged sound as Simone protests, dismays, and wrestles to establish her communal identity in the foreground, and tinkers away brazenly on piano in the background.

Yet her delivery is just as convincing in her love songs. "I Loves You, Porgy", the album's opening track, adopts a relaxed, almost sleepy, disposition, and whose bittersweet content is perfectly reflected in Simone's beseeching voice: "Don't let him take me/don't let him handle me/and drive me mad." In addition, her talents also extended to good humor, as some of the live recordings reveal; her ability to make the audience laugh through on-stage banter is quite moving. Ultimately, Nina Simone left this earth with a much clearer chest. This compilation stows her lifetime's worth of encumbrance. ... Read more

Reviews (22)

Great, but the extra sound effects are unnecessary
This new expanded version of Oklahoma is long awaited for conisseurs of the marvelous 1955 film. It includes not only all music (which has been remastered) from the previous release, but many previously unreleased tracks as well.

On this album we have Gordon MacRae and Shirley Jones in the lead roles that would put them over the top. This is the film for which they probably are both most famous. They were paired up again for Carousel the following year. Jones went on to appear in the 1962 film The Music Man. Gloria Grahame is nice as Ado Annie, but she pales in comparison to Celeste Holm from the OBC album. The cast here is in top vocal form and excellent performances are had throughout.

My only gripe is the presence of extra sound effects in the previously unreleased material. Hand clapping, foot stomping, extra dialog, and shouts and cheers have no place in a soundtrack album. As another reviewer stated, if we wanted the effect this CD gives, we can grab a copy of the movie and fast forward it to those parts. Many of the best soundtrack albums on the Angel and Sony labels have been plagued with this lately. Extraneous sound effects are had on the remastered and expanded editions of Oklahoma, Carousel, My Fair Lady, West Side Story, and others. While I can see the reissue producers' desire to include the music as it would be heard in the film, more effort should have been made to locate the original recording session masters where they exist.

On the plus side, though, all of the selections on this CD sound better than ever. We have the Overture and Main Title as heard in the film itself and they have never sounded better, although I do like the original Capitol Records version of the overture better (it appears as a bonus track at the end of this album). The Entr'acte is featured as well, but the Exit Music has not been included.

I absolutely recommend this album. It is a worthy addition to any Broadway fan's collection. But those who still have their copy of the previous (1993) CD release - hang onto it, you will not regret it! That is how a soundtrack album of Oklahoma, presented with all its integrity, should sound.

OKLAHOMA REMASTER A SLOPPY MESS!
My disappointment with this expanded soundtrack reissue of OKLAHOMA is based on my belief, which is shared by many other people who grew up with and have grown to love these magnificent performances for their musical excellence, not as a mere souvenir of a movie for casual listening. If I want to experience the movie, I watch the movie on DVD or tape. If I want to enjoy the music on a recording, I want the music to be allowed to speak for itself without sound effects mixed in meant exclusively for the visual presentation. The film versions of the three Rodgers and Hammerstein musicals from which these Angel CD reissues are derived, showcase the finest performances, before or since, that these magnificent scores have ever received. The additional music on the expanded editions of these albums is NOT from the original multi channel vocal and music separation soundtrack master recordings stored in the 20th Century Fox vaults but instead recorded directly from a final mix print soundtrack complete with foot stomping and extraneous sound effects, which besides having no place on a music only recording, actually detract from the listening experience rather than enhance it. If this were 42nd. Street, the foot stomping would make sense, since it is an integral part of the musical presentation, but without the visuals these random sounds don't make any sense in OKLAHOMA, where the superb arrangements of Robert Russell Bennett should be allowed to speak for themselves without intrusions from foley effects. If this were a live recording, such sounds would be an artifact of the original and impossible to remove and therefore have to be acceptable if one wanted to hear the score in its entirety. But in the case of OKLAHOMA (and for that fact, CAROUSEL, THE KING AND I and SOUTH PACIFIC) a wealth of unmixed original musical material exists in the studio vaults which could have been made available for this remastering and even more music could have been included on this album (probably enough to fill 2 CD's). For instance, THE OUT OF MY DREAMS BALLET could have been presented in its ENTIRETY, with the extra verse of the song which was on the original album but on this CD replaced by a much shorter version used in the film, without any worry about the sound effects intruding at the beginning and especially at the end. THE KANSAS CITY, FARMER AND THE COWHAND DANCE MUSIC AND THE FINALE could have been presented minus the foley intrusions that almost drown out the music entirely. That is the saddest part concerning this release. The original studio vault material could have been made available if anyone at EMI-Angel had cared enough to present OKLAHOMA with the integrity that this classic recording deserves and should have gotten. If you can get past these aberrations (in addition to some amateur sloppy fade-ins and fade-outs cross cutting the old and new material) the sound on this CD is very good and offers an energetic and beautifully orchestrated performance of the score by Gordon Mac Rae, Shirley Jones and the entire supporting cast. In fact, this performance is superior to the Broadway original in every respect. But even so, try to find the previous CD version of this album, which may not have the additional music but does include the entire vocal score (including the longer version of the song OUT OF MY DREAMS) without all the intrusive sound effects and sloppy edits making for a far more enjoyable listening experience. Let's hope that someday EMI-Angel will give all three of the Rodgers and Hammerstein soundtracks their due and re-release them with added material from the untainted studio vault separations. That would really be SOMETHING SPECIAL.

Oklahoma!
This is by far THE BEST movie and sountrack. The music is beautiful, but still fun and entertaining. It deserves more than 5 stars!

Positively Gorgeous
The score of "Oklahoma" is, quite simply, one of the true masterpieces of the modern world--funny, simple and yet perfectly, elegantly, constructed. Say what you will about other recordings, I can't find much wrong with this one. The vocal performances and orchestration are almost chillingly beautiful. I nearly wept when I heard Gordon McRae's smooth, crooning baritone voice singing "The Surrey With the Fringe on Top"...and that was only the second song on the CD.

Oh What a Beautiful CD!
From the electrifying overture to the finale, this is one for the ages. The rich, strong, at times tender baritone of MacRae complemented by the sweet soprano of Jones, grace the CD throughout. The character actor-singers Greenwood, Nelson, Grahame, Steiger, and others, are perfectfully rendered. (Steiger, though, may not have been up to the movie-deleted "Lonely Room", which would have added considerable depth to his loathsome but pathetic character). There's the fine reprise of "People Will Say We're in Love" and the turn-of-the-century style feminine music of the "Many a New Day" ballet, neither heard in other CDs of the movie.

This is Americana at its most nostalgic, but by no means saccharine. The orchestrations and sound effects of the "Out of My Dreams" ballet, also new in this edition, with their sordid proto-Curly and 'dance-hall' girls, add a dark dimension conjuring up Agnes DeMille's at once menacing and masculine cowboy choreography, not to mention even the sullen sky and landscape. The musical direction under conductor Blackton is crisp and sweeping. Purists have criticized the 'non-musical' foot stomping, clapping, and short dialogues. But who can resist Will's "Kansas City" ragtime, the "Farmer & the Cowboy" dance, and Laurie's calling upon the "elixir of Egypt" to grant her wish? Yes, you can see these on a DVD, but can you play it in your car and let your imagination wander? Or can you see it in a drive-in or a big screen anymore, which is the only way to do it visual and musical justice?

Hammerstein's first lyrics to which Rodgers ever put music began: "There's a bright golden haze on the meadow..." Truer words could not be said of this master work. ... Read more

Reviews (7)

Splendid experience
I used these songs to play at my parents' recent 50th anniversay party. I synchronized it with silent home movies from over the decades. Friends and relatives were in tears with joy and emotion. Special emphasis to tracks 1, 6, and 12....very touching songs performed by a man gifted with an exceptional voice. My highest recommendation.

A Beautiful Gift That Lives On
A very special gift my mother gave me was having Nat King Cole's music playing in the house as I grew up. I can't say that there's ever been a time in my life when I didn't crave to hear his voice. I was ecstatic when I saw this CD and the songs that were included. It's a vacation for the mind, body and spirit to play this CD and melt into a chair. Nat King Cole has blessed us with beautiful music that wakes the heart and will live on as does the beauty of spring.

If you are an old fan of Nat or yet introduced
If you enjoy songs of love and warmth Please, please new or old fan of Nat purchase this album you will cherish it. That's a promise !

He's the man
I never heard an album from him that I did not like, except from the "old" sound-like his "Greatest Hits". The sound on this album is excellent, you will love it!

Words fail me...
There is really nothing more I could say about this man, his voice and the music -- it's all been said before. But I will say this: to have all these songs on one CD is something that is long overdue. You get 24 gorgeous, timeless classics sung as only Nat King Cole can sing them..."There Goes My Heart"..."Stardust"..."Let There Be Love"..."More"..."The More I See You"..."Stay As Sweet As You Are"..."Autumn Leaves"...WOW!! And that's only the beginning! Instead of me shuffling through my HUGE collection of NKC material to hear all these tunes, I can put on this one CD and let it play all the way through. These are REAL love songs, not the sorry, imitation excuses for love songs that you'll hear on the radio these days. Creates a perfect mood for relaxing with that special someone, or when you want to unwind after a hard day on the job. Nat does the job everytime! Highly recommended. ... Read more

Album Description

The ultimate 2-CD collection of late-nite, mood-settingjazz, featuring classic performances by Miles Davis, JohnColtrane, Diana Krall, Tony Bennett, Duke Ellington, EllaFitzgerald and Billie Holiday! Playboy Jazz label. 2003. ... Read more

Reviews (11)

This is an exellent jazz sampler... for late night romance
Weather you want to relax after a long day at work, and get into your cumfy chair and read, or you want to romance that special someone with great jazz and a roaring fire, and a bottle of pink champaigne, this is the 2 cd set to do it with(sure there are cd's like "John Coltrane+Johnny Hartman" and "Charlie Parker With Strings", but this gives you a variety). This cd is not like msot hophodged cd jazz compilations(which I normally despise), this is not a sampler for your average bozo who doesn't know the difference between Kenny G & Eric Dolphy, this cd gives a difinitive overview of good jazz singers and solosits, and the songs flow and create a beautiful and at times exotic mood. Such great yet obscure singer like Ernestine Anderson and Miss Mary Stallings are featured here as well as great intrumentalists like Joe Pass and Gene Harris, and the newer but great Ken Keplowski. This 2 cd set will introduce you to not only yhe popular singers and soloitst but the greater obscure ones too. A great set of jazz, for any occasion waether in be a sophistocated cocktail party or a romantic date for two, or just you, a great cd, buy one for yourself and get one for a friend... A truly wonderful buy.

A wonderful romantic and moody album
This 2 cd set is essential for all hep cats! Normally I skip compilations, however this cd creates a perfect mood for an intimate evening of dinner and who knows what else... This cd combines vintage retro jazz with newer artists, but the music blends well and has high artistic quality thuoghout. This cd is recomended even if you already have these songs on other cd's or by other artists, because they flow so nicely on this exellent and well thought thru two cd set. Hugh Heffner must have personally selected these himself, this cd is worthy of the almight Bunny logo that adorns the cover. Another plus is taht such unknown but great singers liek Mary Stallings, and Ernestine Anderson are included in this great set. This is a cool , hip and swingin' cd, for lovers in a romantic mood, a great addition to anyone's cd collection with any clas or taste at all.

Smoooooooth Jazz, with extra oooooo.
This set deserves 7 out of 5 stars. I really couldn't praise this two disk collection enough. It has been described as a sampler, and that's accurate enough. If you like (lounge) jazz enough to start a collection, but don't know WHO you like, this is an excellent place to start. As a musical genre, jazz is as diverse, if not more, than any other type. It contains Blues, Swing, Dixieland, Lounge, Ragtime, and a throng of others. These disks are primarily what I would call Lounge Jazz - the type you'd hear played on an ebony baby grand piano, from across a dark room, sewn with swirls of grey-blue smoke and perfume, as the redhead in the sparkling rhinestone gown, sitting next to you at the bar, orders a dry martini, and winks at you playfully. Got the picture? The first CD is all instrumental. Deep base, sultry horns / reeds, and a tickling of the ivories. I was almost afraid to put the second CD in, for fear that I'd be disappointed. Number two blew me away. I couldn't believe I liked it better than the first. My favorite track was 13. Solitude - Billie Holiday. I would recommend this set to anyone who wants to start a jazz collection, but doesn't know where to begin.

JAZZ-JUNKIE's delight!!!
For all you JAZZ-JUNKIES like me,(that doesn't sound so irregular), you will want this cd, especailly for the late night hours with that special someone. Yes all of us jazz junkies, already have this stuff in it's original context, but it's nice to have a variety at your fingertips, and this will introduce the novices to new artists liek Miss Ernestine Anderson(not too many people know about her), so buy this and if you love it, you may be a future "JAZZ JUNKIE", and there's nothing wrong with being a JAZZ-JUNKIE. So buy this cd you'll love it(& I love the "Beach house" humor, whoever wrote that original review must feel dumb). Just get this cd it's AWESOME. And one more thing... Jazz junkie, jazz junkie, jazz junkie, jazz junkie, jazz junkie, jazz junkie, jazz junie
J-A-Z-Z J-U-N-K-I-E!!! That's for the guy who wrote never say Jazz junkie(we exhist and you can't shush us up). You wil llvoe this cd, jazz junkie or not.

I keep a dozen of these at each of my Texas beach condos
Hi I'm erin, the Zillionaire stousee. I gave 20 of these away to all of my lovers, they all loved it. Just give this and an expensive bottle of wine to any jazz lover, or any lover(HAHAHA HAHA HAHAHA !!!!!!, nothing like rich person beach house humor). I love this cd and I have been searching for the perfect jazz CD with everything on it, and this is it! I have one at my beach condo and one at home, and I recommend it highly! Thansk for reading my review. Did i mention I'm a bragging annoying rich person, who has to mention my beach house. Wait a minute did I say beach condo(I'm from Texas?), oh well. Buy the cd you'll love it. ... Read more

Amazon.com essential recording

Band leader and lounge kingpin Louis Prima will be best be known for the classic, "Just a Gigolo," immortalized by David Lee Roth for a whole new generation of swingers. But Prima's output went much further: in his day he recorded for Capitol, acted in a movie or two, even owned a golf course. Prima's genius is infectious: lounge, swing, and Dixieland all fuse together into medleys that are fun, dance-worthy, and upbeat. Prima's duets with Keely Smith are the obvious highlights here: "That Ol' Black Magic," "Hey Boy! Hey Girl!," and "I've Got You Under My Skin" are essential Prima tracks. Sure, the cheese factor occasionally runs high, but it is a fun trip. --Jason Verlinde ... Read more

Reviews (59)

The joy of life!
This disk rocks, and is packed with great, upbeat music. It brims with humor and spirit. Even though it runs for well over an hour, I feel let down when it's over.

Unlike many of the people who have posted here before me, I have no particular interest in the swing revival, and I did not come across Louis Prima via Brian Setzer. Brian Setzer is, however, as good a link to Louis Prima as any. Prima was a mysterious figure who played heavily in the otherwise fictional 50's period Italian food film "Big Night" (1996). Intrigued, I bought this disk after seeing "Big Night" in the theatre.

True, the song "Beep Beep" is dated and corny, but it differs from the rest of the disk only in its space-age subject matter and "otherworldly" slide-guitar sound effects. It was topical during the late-50's space race. Everything else holds up perfectly well over 40-plus years.

Prima's band is tight, yet spontaneous and not sterile. He has a great onstage comic rapport with cohort Sam Butera, and also with his then-wife and straight-woman Keely Smith.

Example on "Won't You Please Come Home" --

Keely: (singing) "Won't you come get your baby..."

Louis: (stage whisper aside to audience) "Call from 'The Point'."

This disk is a must for any non-classical music lover with a pulse. This is in my top 5 CD's, out of perhaps 300 I own, and is certainly a "desert island disk." Deservedly, almost everyone on this page has given it 5 stars. It doesn't get any better than this, kids.

AN ALBUM YOU WILL TREASURE FOREVER!
Long before Brian Setzer did "Jump Jive N' Wail," and David Lee Roth did "Just A Gigolo," there was Louis Prima. He is one of the most underated and unappreciated American musicians of the 20th century! Just listen to Setzer's and Roth's (but don't waste your money buying their CD's) versions of those songs, and then listen to Prima's. Not only did Roth and Setzer literally rip off Prima (because they did little to embellish on what Prima had already done), but Prima was making this music 40 years before them! However, this is a testament to Prima's immense talent because his music is as hip today as it was 40 years ago when he was one of the greatest shows in Vegas. Prima was also a gifted songwriter and trumpet player. His voice is unique and no one else has a style like him. The music on this CD covers Prima in his prime and the sound qaulity is excellent. There is a remarkable timelessness to this album because the recordings sound so spontaneous. This album will kick any party into high-gear and will always put a smile on your face. If you really want the real Mcoy when it comes to swing, then Prima's music can't be beat. Prima was a pioneer in swing/jazz who's time has come. He deserves more than just Gap commercials and soundtracks to movies. His place in American music needs to be redefined as one of the greats whose genius was just as immense as Sir Duke's and Dizzy's. Get this album and you'll see what I'm talking about and then tell your friends where the real Swing comes from.

The Music Goes 'Round and Around
Songs are performed between 1956 and 1962 by Sam Butera and The Witnesses and by Luigi's wife Keely Smith. All the classics are here "Just a Gigolo/I Ain't Got Nobody" gave Dave Lee Roth a hit, "Jump, Jive, An' Wail" was a big hit for "The Brian Setzer Orchestra", "Sing, Sing, Sing" for Benny Goodman Orchestra. This is goddamn great Jump Blues!

BOOM!
If California has another power outage, just hook the generators up to this Louis Prima CD and pow!-- no energy crisis here! Louis is like that other Louis-- Satch of course-- juiced up on rocket fuel. Then you've got Sam Butera blowing the living daylights out of that howling sax. Keely Smith's clear smooth voice mellows it out a bit, but this thing jumps, jives, and wails all the way.

With that crazy New Orleans-- or is it Neapolitan?-- rhythm going on behind him, and Butera growling for a few bars, it doesn't matter if this is jazz, lounge, or whatever, it's just infectious as can be. Oh, and by the way, Prima plays a mean trumpet himself. And he wrote "Sing, Sing, Sing"

So for some screaming, super-hyped music, you simply can't pass this disc up.

so much fun
Louie Prima was a true original. He's been copied but no one has quite matched this level of joyous lunacy. Buy this and have a blast. And catch his wife Keely in concert if you have a chance. ... Read more

Amazon.com

The original Broadway cast recording of Annie still has as much charm as it did in 1977. Charles Strouse wrote the snappy music and Martin Charnin's clever lyrics capture the misery of the Great Depression, the glitter of the upper-crust life, and the character of the FDR administration. Andrea McArdle shines in the title role, most notably with the classic anthem "Tomorrow," while Tony-winner Dorothy Loudon and Reid Shelton provide support as the hag Miss Hannigan and the benevolent Daddy Warbucks, respectively.

The 1998 remastered edition includes as bonus material 17 minutes of tape Strouse and Charnin recorded for backers' auditions in 1972. They present the seven songs with some plot structure and early ideas for characters ("Miss Asthma" was a precursor for Miss Hannigan). Many of the songs didn't survive the final cut, but "Just Wait" eventually became "Little Girls" and "We Got Annie" was resurrected for the 1982 film. "Tomorrow" also appears--touted as the song's earliest recording--and Strouse and Charnin's rendition will increase your appreciation of McArdle. You won't listen to this rough draft every time you play the CD, but you'll enjoy it if you have any interest in the show. The booklet includes the original synopsis and production notes as well as new notes by Charnin on the extra tracks, but no lyrics. --David Horiuchi ... Read more

Reviews (33)

My Personal Favorite!
From the time I first saw this show in community theater when I was seven, I have been in love with it. It may seem silly to say, but it spawned my interest in theater, musicals, and history! This is a musical that can bring a smile to the faces of the most bitter people. Charles Strouse and Martin Charnin outdid themselves with the charasmatic music and lyrics. "Tommorrow" is one of the most beautiful songs ever written, and was actually the last song from a Broadway show to become a standard. The cast is lead with great passion by Andrea McArdle as the title character, Dorothy Loudon as a delightfully wicked Miss Hannigan, Reid Shelton as Warbucks, orphans that aren't sappy (a great achievment), and a quality ensemble (listen for Laurie Beechmen as "The Star to Be" during the "NYC" number). Annie was the first CD I ever owned, and i've listened to it hundreds of times. Take it from me: It's a keeper!

andrea mcardle shines
I've been a huge fan of Annie since I was little and first saw the 1982 film(not the best version of the musical but it introduced me to the wonders of the musical) at around the ages of 4-6. Since then, I've grown out a bit in my collection. I own two versions of the 1982 film on vhs, the new disney version, and both the obc recording(this cd i'm reviewing here) and the disney version of the soundtracks. Annie is a musical you can't help but love. From Tomorrow to Easy Street, it's oozing with a story any young girl can relate to, even if you aren't an orphan. The love Annie shows for wanting a family is touching and the songs are beautiful and well done by an incredible cast. Don't buy the soundtrack to the 1982 film unless you want to be confused, buy this one and learn the magic of Annie.

Andrea McArdle and the original cast; a gem
The original 1977 cast of ANNIE still cannot be beat, with its original titled moppet Andrea McArdle in her Broadway debut. Dorothy Loudon is still the definitive Miss Hannigan, with Reid Shelton giving Daddy Warbucks a warmth and sincerity that is seldom seen with any other actor playing the role. Robert Fitch and Barbara Erwin are magical in the roles of slimy Rooster and Lily St. Regis. Sandy Faison is a glowing Grace, and the late great Laurie Beechman shines in a variety of small roles. Raymond Thorne plays F.D.R. (he amazingly stayed for the entire Broadway run), and the ensemble is strong and tight.

This beautiful new reissue of the original cast album contains bonus tracks of the original backers' auditions tape, where composer-lyricits Martin Charnin and Charles Strouse first introduced this marvellous score. The tape is interesting in that you hear some songs that were cut prior to the Broadway opening (like "Apples" and "I've Never Been So Happy), and we learn that the melody-line for "Little Girls" was originally written for a song called "Just Wait". Truly one of the mandatory albums in any Broadway collection.

A Great CD
This CD was great because it is the original Broadway soundrack. I think it has better vocals than the movie soundtrack as well.

Don't bother with this one!!!!!
I just received this CD, they fail to mention in the description that it has been REMASTERED!!!! It sounds AWFUL all the background vocals and music is almost in auditable, I am VERY dissapionted with one, you will be too, trust me. ... Read more

Amazon.com

This 2-CD set comes from Marian McPartland’s 85th Birthday celebration held on March 23, 2003 at New York’s Birdland, an event that also marked the 25th anniversary of her NPR show Piano Jazz. McPartland has been an enthusiastic champion of jazz as well as a superb pianist, and the high esteem in which she’s held shows through in the guest list. There’s a brilliant sextet with Phil Woods and Dave Douglas, while Regina Carter and Jim Hall together generate all the momentum of the swing era. Norah Jones and Karin Allyson are among the singers who join McPartland for ballads and buoyant up-tempos, while the trumpeters include Clark Terry, Jon Faddis and Roy Hargrove. The piano, though, gets special attention. In the enduring spirit of Piano Jazz, McPartland duets with Billy Taylor and impresario George Wein from her own generation and takes an exploratory approach to "Summertime" with the young Jason Moran. Bill Charlap adding a compelling solo medley. A fitting tribute to McPartland, this set celebrates both the breadth and depth of the current jazz mainstream. --Stuart Broomer ... Read more

Amazon.com essential recording

All for You is a tribute to the Nat "King" Cole Trio of the 1940s, when Cole performed as both a singer and a pianist. Krall, like her heroes Lena Horne and Carmen McRae, is also a singer-pianist, and she plays both roles on most of the songs here. She's able to link her singing to her piano playing in sympathetic ways and projects tremendous feeling through both. Like Cole in the '40s, Krall plays with a drummerless trio--here with guitarist Russell Malone and bassist Paul Keller. Their sense of intimate rapport is especially valuable on ballads such as "You Call It Madness" and "I'm Thru with Love," but also allows such uptempo tunes as "Hit That Jive Jack" to swing with surprising lightness. --Geoffrey Himes ... Read more

Reviews (78)

Surprised That I Bought This First
All For You is the best representative of Diana's gift for jazz and swing music at its best, whether bouncy or intimate. You may think you're listening to a live recording. Even Boulevard of Broken Dreams or You're Looking at Me remain sophisticated without the addition of strings. Played just as the Nat Cole Trio might have down at Smokey Joe's.

For someone raised on the pop and rock sounds that came out of the 60's hearing a trio play mostly without percussion was a revelation. When I clicked the local FM station back on after several hours with All For You as music while I worked, the incessant snare of the rock beat pounded in my head like waking up to a jack-hammer on the street below. I have _not_ been listening to jazz for decades. That's the point. I learned a lot about Nat Cole's early career that was unkown to me from the CD notes. If I hand't been able to listen to samples of this album, I would have considered it last because of the Nat Cole connection. I am in debt to Diana Krall for bringing to my attention music I would have never listened to without experiencing her love for it.

I am in agreement with the other reviewers here that this is a great CD to unwind to, with its spare arrangements and quiet presence, not sleepy or mushy with strings. I love the playful Frim Fram Sauce, which Diana makes her own on this performance. Errand Girl for Rhythm is exactly what Diana becomes on this CD, supplying us with a steady telegraphing of her gifted jazz piano. You're Looking at Me is delivered with knowing sophistication the lyric deserves. I enjoy the simpler arrangements and intuitive playing of All For You more than any of her later CD's containing lush string arrangements that just sound studied and distant to me. The guitar work of Russell Malone is very tasteful, blending well with Diana's piano.

This CD has a very intimate and immediate sound. The recoding mikes each player very close, making for the intimate sound of this performance. You feel as if you're right in the middle of Krall, Malone and Keller as they play. Each instrument (including her voice) can be heard distinctly. There is no "wall of sound" or distant miking and mushy strings to come between you and the artist.

The production on Diana's early efforts, such as her first CD and Love Scenes, is uneven and less polished in comparison to the effort lavished on All For You. That is partly why I chose this as the first Diana Krall CD I bought. Unlike the other CD's the mike level and quality does not vary wildly from song to song, which I find annoying.

If you have a strong liking for this recording you will probably have a strong dislike for Diana's later recordings made in lush string settings that place her and the band at a sonically distant location, as we are listening to the band at the back tables of a smoky nightclub in the '50s. The kind of stuff you'd expect to be playing on a penthouse hi-fi in an old movie. Diana does a solid job with the standards on When I Look in Your Eyes and continues the evolution on her new recording The Look of Love. But I can't help but think marketing forces are behind this transformation to the kind of sentimental, mushy sound that Nat Cole was doing by the time of hits like The Christmas Song. I'd like to think it's just Diana's changing sensibility, but could the same process be at work? I say this because I think if you're put off by her latest effort, then by all means try one of her earlier recordings.

five stars aren't enough...
I discovered this album because a friend of mine in the music industry (who doesn't know all that much about jazz vocalists) wanted to know if Diana Krall was as good as all the hype about her said she was. After a quick scan of the song list I replied that it would be easy to tell because she had a version of "Boulevard Of Broken Dreams" and that was one of my favorite pieces -- not only one of my favorites, I said, but I have a recording on a mix tape at home by some woman (who's name escaped me) that I considered the definitive version of " Boulevard Of Broken Dreams".

Two seconds into the song I realized that this was the woman. I said, " she's better".

Diana Krall's ability to interpret standards is truly amazing. I have a fairly extensive collection of jazz vocal albums and I place this one right up there at the top with singers like Ella Fitzgerald, Johnny Hartman, Nat Cole & Billy Holiday -- not necessarily because they sound alike, but more because all of these artists can sing a song and make you hear it differently than you've ever heard it before.

Now I'm not going to try to convince you that all of her recording are flawless, but this one is a pure winner. There's not a bad track on here. Some of the stand outs are 'You Call It Madness', 'You're Looking At Me', 'A Blossom Fell', and of course my favorite 'Boulevard Of Broken Dreams'.

I can't wait for Diana to outgrow this label. They spend way too much time trying to promote her image. It's not an insult to say that her image is the least of her qualities.

HOT MUSICIANS & MONOTONE VOCALS
Sorry but Nat would not be thrilled with vocals that would be more fitting to a Julie London tribute. If you really want to be blown away by a JAZZ DIVA tribute to Nat, then sample the tracks on Carmen McRae's brilliant "You're Lookin' At Me" tribute and you will hear a tribute collection that is classic and would get a big nod of approval from Nat himself! Diana does some excellent keyboard playing and I love the guitar work and rhythm but these vocals don't take you away like Carmen's or many other Jazz Diva's who are not getting the acclaim they deserve. I guess the music industry thinks that a pretty face is what sells in a well produced setting but you cannot build alone on this for too long. The character and soul in the Carmen McRae tribute is so strong and one can go to the Liza Minnelli "Minnelli On Minnelli-Live at the Palace" and sample "If I Had You" and hear how a rich soulful voice can turn this song into a really satisfying listening experience!!

The Diva's Best to Date
Diana Krall is the consensus Diva of Jazz these days. While I don't necessarily agree, there's no denying her talent, and if you're curious about her artistry, this is a good place to start. This, her tribute to Nat King Cole, along with the ensuing "Love Scenes", are her best works to date. Highlights include the rollicking "Hit That Jive, Jack" and the haunting "Boulevard of Broken Dreams" (the latter proving that Krall is capable of doing something memorable that isn't necessarily "cool.") Highly recommended, whether you're a big fan or not.

My favorite Krall CD !
This is my favorite Krall CD as she swings much more on this Nat King Cole Trio tribute (not just sultry singing like her newer Cds) . Also she plays the piano more. I would buy her CDs just to listen to here play the piano as she is one the best jazz pianist on the scene today. I like her song selection which includes Hit that Jive Jack, Frim Fram Sauce, Deed I Do. Baby baby all the time, Gee Baby ain't I good to you . Her trio (like the Nat King Cole Trio)with no drums - Russel Malone on guitar and Paul Keller on bass really sound good together. ... Read more

Amazon.com essential recording

Like a mink draped over mahogany, Diana Krall's luxuriously supple alto adorns the vintage songs of romance and longing found on Love Scenes with a palpable aura of glamour and late-night cool. Her ostensibly effortless command of phrasing and intonation, whether the mood is seduction or a sweet sassiness, further fortifies the opinion that the Canadian vocalist-pianist possesses one of the great female jazz voices to surface in the late 1990s. Augmented by spare but skillful instrumentation from bassist Christian McBride and guitarist Russell Malone, Krall sustains a largely quiet (though hardly sleepy) ambience throughout the CD's 12 selections, from Irving Berlin's "How Deep Is the Ocean (How High Is the Sky)," which she also uses as a showcase for her touch at the keyboard, to Gershwin's "They Can't Take That Away from Me." Her swing is artfully subdued ("All or Nothing at All"), and her wry, expressive approach to "Peel Me a Grape" is pure charm. Yet Krall shines most luminously on languid gems such as "I Don't Stand a Ghost of a Chance with You" and "Garden in the Rain." Anyone in search of an album ideal for watching city lights at 2 a.m. should keep Love Scenes in mind. --Terry Wood ... Read more

Reviews (152)

Wow - what a performance!
Outstanding and oh so alluring collection of beautiful romantic ballads. The clean simplicity of Diana Krall's smooth and sultry alto voice with only a string base and guitar and her own lush piano makes this some of the best music I have heard in years. The thoughtful styling she displays in each cut on this CD makes this the ideal score for the concept of "Love Scenes". Her rendition of "I Don't Know Enough About You" (it's the cut that first hooked me on her) is bouncy and petulant and showcases her vocal and piano talent while her bluesy "Lost Mind" transports me to places dark and romantic. Her take on "I Miss You So" exudes a wonderfully rich torch song aura and drips of romance. Overall, the cuts on this CD are remarkably reminiscent of the combination of dark chocolate and cabernet - rich, smooth, tasty, and utterly romantic.

Definitely a "candlelight evening for two" collection that should touch the true romantic in anyone who listens to it. Ideally, the second CD for such an evening would be another of hers, The Look of Love.

Polished set from masterful traditionalist
Jazz singers who turn songs inside out, such as Cassandra Wilson and Holly Cole, are spectacular to witness, but staying traditional and still standing out is just as noteworthy accomplishment. With "Love Scenes" Diana Krall becomes more than noteworthy.

A smoky, intimate singer just as at home with ballads as she is with swinging numbers, Diana is at her finest here on the longing "I Miss You So," the toe-tapper "I Don't Know Enough About You," and the bouncy "All or Nothing at All." "Lost Mind" offers a tasty bit of blues, "Peel Me a Grape" boasts a sexy swing, and "You're Getting to Be a Habit With Me" is downright irresistible. But the album's crowning moment comes on the classic "I Don't Stand a Ghost of a Chance With You," where Diana sings over a simple guitar and bass arrangement and manages one of the warmest and most inviting interpretations of this standard ever recorded. Not bad for a song commonly associated with Billie Holiday.

The only complaint possible would be that Diana didn't shake up the format much; a Bossa Nova arrangement would have been nice somewhere along the line for variety. But in the face of such glorious singing and musicianship that both flaunts and inspires a love for jazz, such complaints matter little.

About as perfect as hubby's "North"
I have not purchased the new CD by the husband-wife team of Diana Krall and Elvis Costello but am planning to do so. Both have long been in my vocal top ten for sheer talent, originality and musicality. You never know what to expect from such a hyped offering but for once, I was not disappointed. There is something interesting and lovely in ever single track. From the sexy "Peel me a Grape" to the fantastic "Garden in the Rain" these are extremely intelligent interpretations of several old classics.

One almost wants to enter that smoke-filled bar, order a Martini and take a seat. The piano-playing complements the vocals and that is another reason to like this album. With so many rap and hip-hop "singers" abounding who can neither read music nor play a musical instrument, it is refreshing to find an artist who can do both effortlessly. Wonderful, soulful sounds.

Sit down and relax...
Being next to her just as she sings... simply couldn't get better than that! As a jazz freak, it is nice to settle down and just enjoy little nicely composed tunes, in all sense just a great work! Very standard preserved jazz, well structured and entertaining, and Diana's piano skills just add more and more to the scene, not to mention her consonant beautiful voice that is always precisely adding more harmonic structure overall. The girl is talented, no doubt, but I recognize other than her virtuosity the fact that she sticks to her style, and she does it like few others, Sarah Vaughan et al... Great music, just get it...

Amazing
The first song I ever heard of Diana Krall was 'Peel me a grape' and boy did I fall in love. I automatically bought the cd and fell in love. She is one of the first jazz artists I was introduced to and remains to be my favorite. ... Read more

Reviews (12)

Makes me proud to be Italian!
What a georgous collection of songs! Being Italain myself, a lot of these songs I grew up hearing from other artist. Hearing Dean singing these songs is like hearing them for the first time. What a voice... what a ledgend!

Dino my Love:
Hi Dino is one the best Italian love song crooners. I'm really glad I bought this CD. Dean martin is one of my favorites. There is always a place in my heart for Dino. He has influenced a lot of other artists as well. Warm Regards: Cathy Alexander(NH)

The Best!
This CD is the best work of Dean Martin. I love this CD.

The Record Company did very well in making this compilation!
One can buy so many CDs used nowadays; paying full price doesn't often feel worth it; but in this case, it is worth every red cent. Okay, Dino is American, Dino is Italian American, hailing from Steubenville Ohio, he was brought up, on the Italian language, it comes through the speakers, he's a native speaker, with ancestry in the Abruzzo region of Italy. Maybe for strict Italian, I don't know, I think, I'd still like it. I've travelled abroad; can speak two other languages, this collection, gives one some desires to even hear Dean sing in French and Spanish as he did, his talents being so diverse. Maybe this album too, to some, is like travelling abroad, you are not totally immersed in the culture, but you get a good flavoring of it. It might be a nice doorway to listen to other Italian/mandolin music; which brings to mind, some of the arrangements are stunning;

The famous "Return to Me" being maybe the best example, but not the only one. "Volare" is good, but somehow, I favor the Vic Damone (I believe) version more.

"Come back to Sorrento"; I believe is all in Italian, despite it's name, maybe a small part in the end is in English. Maybe in this case, I would like to understand more of the message of the song. What's important with Dean Martin, is that it is his native language, Italian, so it is not as if, he struggles, tries to sing some words, which, say, with all due respect to Nat King Cole, he did wonders for the Spanish language in singing some of his songs in that language, but a native speaker may be able to tell, his pronunciation is not perfect. They were hits in Latin America anyway. This is not a drawback for Nat King Cole, but it is a plus for Dean Martin, he really sings these songs, with Italian spirit!

Does it make you feel like loving? I don't know, but a few of these can surely bring tears to your eyes. For example, "From the bottom of my heart."

Not being in the know on some things, "O Sole Mio" seems to be the same song, as Elvis' "It's now or never."

Not much comment needs to be made on the wellknown songs of Dean Martin on this CD, such as "That's amoure" ; however, I will say, that with "That's amoure" I have a better appreciation of this song, presented with Dean's other Italian-American interpretations and singings of this album.

"Luna Mezzo Mare" is well done, and if you have listened to International music, the style, makes me think, of other songs I have heard, making it sound somewhat nostalgic and Italian.

If you never go to Italy, you'll get a taste of it with this CD.

Magnifico!
I bought this album to use as background dinner music at my wedding, and I received so many thanks and compliments from friends and family. I listen to this CD all the time and recommend it to all. The album is cohesive and engaging. It will put anyone in the mood for love! ... Read more

Reviews (13)

Puts Streisand to Shame!
Nancy LaMott was many things: a talented singer, a musician whose song interpretations were often brilliant, a loving human being, and an artist from whom many of today's singers could learn quite a lot. Her untimely death was tragic, as she had indeed overcome many health problems, and other obstacles, to become "The Best Cabaret Singer in New York" (according to New York magazine.) I had the honor of running her fan club, and was pleased to discover that she was a nice person in addition to being extremely talented. Her CD's, sadly, are being pulled off the market due to a legal battle with her estate, so BUY THEM NOW while you can! I feel I must amend an earlier posted review - "Listen to My Heart," the title track, is NOT from "Jekkyl and Hyde." This album is not to be missed.

Disappointing material
If you plan to own just one Nancy Lamott album, don't make it this one. The songs are banal, cloying, and woefully unworthy of their supreme interpreter. Only do "Out of This World" and "The Summer Knows" rise above the obvious mush, which would be more suitable for a singer like Streisand. Try Nancy's "My Foolish Heart" for one of the best albums of music by one of best singers of our time.

WOW!
Nancy LaMott's voice is like velvet. No offense to Steisand fans but LaMott beats her at the ballad.
"Not Exactly Paris" is probably one of my all time favorites.
Everyone wishes for a love like that~~makes you cry....
The world grieves for this voice.

a tragic loss to cabaret
Nancy Lamott is one of the great cabaret vocalists of the past 10 years. The simple beauty of her voice and the elegant interpretation of the songs makes this album a must have for any fan of cabaret vocalists. Her death was a tragic loss for the world of music; this album showcases her wonderful talent beautifully.

A Brit discovers a Diamond.
I am a Brit, living in the UK, and I have just discovered this lady. Here voice is incredible. The song ' Not Exactly Paris' I had not heard before, but WOW, what a song! The interpretations are magic. Thank you, Amazon, for providing what few copies there are of Nancy Lamotts work. A pure diamond of a singer. ... Read more

Reviews (18)

An okay collection of Tony's best symposium...
Tony Bennett is the last of the great crooners.

Bing, Frank, Dino, Nat, and Perry are all gone now. The best way to enjoy these mammoth crooners is to buy their vast remastered albums.

Tony has a new one called "40 Years The Artistry of Tony B". It covers most of the highlights of Tony's lavish career. Some of my favorite standards are "Boulevard of Broken Dreams - Gigolo and Gigolette", "Rags to Riches", "I Left My Heart in San Francisco", and "Just in Time". Tony could also do some wonderful Sinatra-style singing too: "Chicago (That Toddling Town)" is a good one from the Carnegie Hall appearance in 1962.

This CD compilation is about half way there. Someone should sit down and REALLY evaluate a 25 song classic CD that includes only Tony's best based on listeners' favorite picks. Songs like "Something" just don't cut it for me. I think some of his early sixties and entire fifties material is pure gold.

It is no surprise when the Chairman of the Board once said that "Tony is my favorite singer."

Tony Bennett: 5 Stars, This Collection: 4 Stars
Sinatra referred to Tony Bennett as the 'best singer in the business', and after listening to many of Tony's albums it is hard to argue. This 'best of' collection from 1972 includes some magnificent recordings, including 'I Left My Heart in San Francisco', 'Love Look Away', a heart-stopping 'I Wanna Be Around', a rousing 'Sing You Sinners' and more. It is a time capsule album of Tony's earlier career.

While his voice is sensational -- it deepens into something beyond compare by the early 1960s -- a few of the songs are the product of their era, notwithstanding Tony's talent. The early 1960s style of adding a background choir and additional echo has a kind of charm, but it sounds like -- well, the early 1960s. The good news is that apart from a 'Boulevard of Broken Dreams' that sounds like a bad cabaret tune and a cover of George Harrison's 'Something' that really isn't for Tony (he's a Cole Porter, Gershwin, Johnny Mercer, Rodgers & Hart kind of guy -- best when the music swings or in great ballads), most of this album is a real treasure.

However -- some of the albums from which these songs were culled are worth buying. 'I Wanna Be Around' is a superb album, as is 'Who Can I Turn To'. And, if you enjoy live music, the 1962 Carnegie Hall Concert is an outstanding recording that includes much of the classic material here, in rousing renditions. Two CDs of live Tony Bennett in 1962 -- what else could you want?

If you are looking for an introduction to Tony Bennett, or just appreciate his powerful voice and inimitable spirit -- the guy always sounds like he's smiling into the microphone, and that happiness comes through -- you should enjoy this album. If a couple of the tracks sound a bit like kitsch, so be it.

OK, But Nothing To Swing About
You want great ballad singing? Buy a CD by Vic Damone, Mel Torme, or Matt Monro. You want great swing singing? Buy a CD by Bobby Darin or Frank Sinatra. You want singing that's not quite as good in either category, then perhaps Tony Bennett is right for you. This is an okay collection, but Bennett's raspy-voiced screaming is certainly not for everyone. Certain singers, like Bennett, assume that if you have a powerful voice (even if its tonality is unpleasant) you must sing all songs at the top of your lungs. Rarely do such histrionics add anything to a pretty melody or romantic lyric. Bennett likes to think of himself as a great "jazz singer" who performs the compositions of Jewish-American songwriters and black orchestra leaders. I guess this self-description makes him feel "hip." In fact, Bennett is often a screechingly annoying balladeer and on uptempo numbers his style is about as hip as Conway Twitty's. And all that screaming!!! Tony, your head is about to explode!!!!

Tony Bennett is a minor leaguer among major leaguers
I agree with the music fan from Potts Grove, Pennsylvania: Tony Bennett is a screamer with a grating, raspy voice who too often sounds like his head is about to explode. Bennett's "Greatest Hits" album has some nice tunes like "San Francisco" and "I Wanna Be Around," but many of the other selections feature Bennett's typical screaming at the top of his lungs even when the tune does not call for such volume and vocal histrionics. It's true, when I think back at watching him perform on TV over the years, his neck and face did grow red and contort as he screamed out lyrics. Like Barbra Streisand, Bennett must think that good singing equates with yelling and screaming. When he does keep his human vibrato under control, he sings a nice (although not great) ballad. He also does have good taste in the classic pop material he records, but his voice grows increasingly grating as you listen to it. With Sinatra, Darin, Martin, Crosby, Matt Monro, etc. dead, there are few classic popular singers remaining (Jack Jones and Vic Damone are the only two who come to mind)and so Bennett fills a necessary gap----but he is no Vic Damone or Jack Jones as a balladeer, nor is he a Bobby Darin or Frank Sinatra as a swinging belter of uptempo tunes. He is just there....tasteful but often annoying. Better invest in a pair of ear plugs before listening to this CD.

Bennett Another Great Italian Crooner
Aside from the classic "I Left My Heart In San Francisco," Tony Bennett's vocalizing is an acquired taste. But Bennett does grow on you. Initially, his voice is a bit grating and the listener may grow concerned that the veins in his neck might pop at any minute. Eventually, however, you realize that while he is not an exceptionally smooth vocalist (like Como or Damone), he is nonetheless a very good one. He has a powerful voice and, while he at times awkwardly tries too hard to swing like Bobby Darin (who, in my opinion, stands alone as a master uptempo vocalist), he usually has good taste in his choice of songs. Tony Bennett may not have the looks, panache, or magnetism of Bobby Darin or Dean Martin, but like his two paisanos, he can sing. Add his name to a list that also includes Vic Damone, Perry Como, Frank Sinatra, Frankie Laine, Nick Lucas, Al Martino, Russ Columbo, Buddy Greco, Julius LaRosa, etc., and you have a veritable who's who of American popular singers, all of Italian descent. His "Greatest HIts" CD is a must for any serious collector of American popular song. ... Read more