Amazon.com essential recording

Perhaps best known for the hit "Send In the Clowns," Stephen Sondheim's glamorous 3/4 waltz-time musical recalls enchanted evenings, white kidskin elbow gloves, and romance of the green-eyed bittersweet and bed-hopping sort. The ruse is that these folks lead "ordinary lives": the father is widowed, remarries, and briefly rekindles a sack-side former flame; the son flirts with the maid; the child bride is cuckolded yet loves and is loved by the son; and the maid has a romp with the butler. Adapted from a mid-'50s Ingmar Bergman film, the play debuted in America in the early '70s and is set in Sweden's turn-of-the-century well-to-do society. Now remastered and heard at the dawn of the millennium, Night Music is a dated yet charmingly affected period piece, abundant in its sweeping theatricality. As an unhappily chaste newlywed, Len Cariou, Broadway's glistening middle-aged dandy, is smashing as Fredrick. Glynis Johns (who always sounds congested and quite cosmopolitan) steals focus as the delightful actress Desiree. Night Music is a foolishly fanciful, twinkly score swathed in plucky harp, sweeping strings, and coolly elegant conversational tunes. --Paige La Grone ... Read more

Reviews (29)

Still the best account of this score on disc
Though John Owen Edwards' chamber music version for Jay Records is more complete, and the Original London Cast recording is slightly more jaded, this luminous remastering has stood the test of time and then some. Veteran producer Goddard Lieberson is undoubtedly a factor; the other is the incomparable original cast and the score itself, one of its composer/lyricist's most ravishing achievements. Glynis Johns, despite considerable competition, still stands supreme as Desiree Armfeldt, with a rendition of The Great Big Hit Song that can only be described as definitive. Len Cariou's Fredrik is so well-sung one can only regret that Sweeney Todd took such a bite out of his instrument, and the late, great Hermione Gingold is, as ever, in a class by herself. But really, all the performances are of conservatory level, and merely the wonderful sweep of "A Weekend in the Country," or the newly re-instated "Night Waltz II" give ample example of the melodious, utterly sophisticated charm of this experiment in three-quarter time. A miniature masterpiece of the form and the format.

Sparkling, sophisticated, beautiful... but not my favorite
For some reason, this isn't my favorite Sondheim score. I don't know why; there isn't a single clinker in this great collection of songs. There isn't a clinker in Sondheim's scores for other shows, either, but usually at least one or two songs aren't quite as memorable or don't have as much impact as the others. That isn't the case here; from the amusing/powerful/lovely "Now/Later/Soon" opening, to the sprightly "The Glamorous Life" (And I include the lovely rewritten film version of this song, which can be found as a bonus track on this Broadway Masterworks reissue of the original cast album), to the delighfully wicked "Remember?" to the cute "You Must Meet My Wife" to the humorous "Liasons" to the gripping "In Praise of Women" to the haungtingly cynical "Every Day a Little Death" to the exuberant "A Weekend In the Country" to the ironic "It Would have Been Wonderful" to "Send In the Clowns" to the delightful "Miller's Son," there's an abundence of memorable material here. Heck, you can even sing along with the Quintet in the overture! The music is some of Sondheim's most beautiful, and with the orchestrations of Jonathan Tunick, espeically in the Night Wlatzes, it becomes intoxicating. The lyrics are probably the most Cole-Porter sly and sophisticated ones he's written. And this cast is exceptional. Yes, Sondheim had to get around the fact that Glynis Johns was not a singer by giving her one solo and not much else to sing, but she is a wonderful actress, which certainly comes through in her regretful, yet bitter and sarcastic recording of "Send In the CLowns." No wonder she won the Tony for her inimiatable Desiree. Len Cariou is in fine form as Frederik, which certainly is a very different role from his better-known performance as the maniacal murderer Sweeney Todd! Hermoine Gingold is, as always, charming and loveable as Desiree's grande dame of a mother. Laurence Guittard is in great voice as Carl-Magnus, and Patricia Elliot, while having a somewhat harsh singing voice, is also an obviously very good actress. (She also won the Tony for her Charlotte) I wonder why no one else on this page has mentioned Victoria Mallory's gorgeous, creamy vocalizing as Anne (You really do have to admit she's endearing) or Mark Lambert's pained henrik, or D. Jamin-Bartlett's sly Petra, but I guess it's hard to remember everybody. In any case, kudoes to them, too. THe Quintet also has great voices, and these classically trained singers do quite well in a Broadway setting with lyrics that are probably more fun to sing than anything else they ever sang in concert halls. So, as great as this score and this recording is, why is this not my favorite Sondheim score? I don't know... "Sweenet Todd" (My favorite), "Sunday In the Park With George," and "Follies" all have their "weak" songs, but... they're just more enjoyable and interesting and moving to me, and "Sweeney Todd" really seems to be just about perfect. I just like those scores more. Oh, well...

Stunning
There are times, oddly, that I get near tears during this recording, though I'm not certain if that's what Sondheim intended. the soaring harmonies, the complexity of life, the whole crazy love of it all, which is all just life. Don't be silly and try to review each song, this is a piece in and of itself, lilting, stoic, and even one of Noel Coward's lovely Cockneys. Not something you'd take a new love to, but clearly one written for long-time lovers. Oh thank you, Stephen, thank you for this.

The Greatest Romantic Comedy
This the height of any type of musical comedy. Most comedies have predictable books, with typical songs and a happy ending. ALNM has a happy ending, and a lot more. The book is witty. I have never seen a production of it, but i have rented the book from the library. The music is wonderful, lush, and romantic. Highlights include "The Millers Son", "Now","Liasons", and of course "Send in the Clowns". The cast gives a stellar performance,and Len Caurio gives a performance to rival "Sweeney Todd", and that is hard to do. The show is polite about its topic, very polite if you watch any movie today and thenListen to this. Also, if you want another good version of "Send in the Clowns", you can find it on the DVD "Broadways Lost Treasures", sung by Julie Andrews. There are other great performances on there so check it out.

One of Sondheim's Greatest!
A Little Night Music is truly one of Sondheim's greatest masterpieces. It has the wit of Company, the classical tone of Sweeney Todd, and a scenic design that ranks with Into the Woods. Also, the casting for this show was some of the best ever. Len Cariou may not be one of my favorite singers, but he is wonderful in this role. Also, this score is deffinately best known for Send in the Clowns, but honestly, the best songs here are A Weekend in the Country, Now/Later/Soon, and Perpetual Anticipation. The bonus track of "Glamorous Life" is another great addition to this, the original version, of Night Music. Of all the recorded versions of this show, the only other one that possibly ranks with the original cast would be the London Cast. Both are great albums for Sondheim collectors. ... Read more

Amazon.com essential recording

With characteristic willfulness, Nina Simone plunged into a range of songbooks and styles between 1966 and 1973, when she recorded nine LPs for RCA. This two-disc overview demonstrates just how unpredictable and headstrong the seething songstress was during a period that was tumultuous for Simone personally and for society in general. Top 40 covers ("Mr. Bojangles," "To Love Somebody") mix with rock (Dylan's "Just Like Tom Thumb's Blues," George Harrison's "Here Comes the Sun") and pop standards ("Since I Fell for You," "My Man's Gone Now"). An increasingly politicized perspective informed Simone's late-'60s work. Her friends included Black Power firebrands H. Rap Brown and Stokely Carmichael, and she made no attempt to disguise her militancy. "The King of Peace is dead. I ain't about to be nonviolent, honey!" she announces on this collection's "Martin Luther King Suite," which was recorded live one day after the civil rights leader's assassination. While a number of selections included here can also be found on RCA's two volumes of Essentials, this lovingly assembled survey (which includes five previously unreleased recordings) captures the High Priestess of Soul in all her unshackled glory. --Steven Stolder ... Read more

Reviews (16)

2Bold 2 Black
Nina Simone is a Genius Period.Her Material Her comes RIght at you.She is a Grand Talent.She has So Much Power,Passion,Feeling&Soul in her voice.She is The Female Version of Ray CHarles she is able to Wrap so Many Styles into One&then make them her own.You feel the Depths of her words that's Power.she has more FOrce than some -So-Called Hard Rappers.

More than an album, it's a friend of mine
I bought this album only because of the words that Lauryn Hill rapped on the last Fugees-album: "While you imitating Al Capone, I be Nina Simone..." And when I put on the two CD's I only had one problem: not being able to listen to all of my favourites at one time!!! Nina Simone picks songs that tell a story, whether it's being old, sad and alone or young, gifted and black. Her voice shows you emotion whether it's happiness, hope, self-love, heartbreak or pain (aka: the blues). When you're sad she tells you: ooh, child, things are getting a little easier - and best of all: you believe her. Her voice is unique and her piano-playing is breathtaking. It's one of those CD's that I will always cherish.

Patsy Cline is Way Better!
This CD is okay, but I must say I am dissapointed.
Everyone told me how great a vocalist Nina Simone
is. Boy is that a laugh. I can hardly tell if
she is a man or a woman, let alone does she gave
a great vocal style. She is one note all the time.

If you wanna hear great stuff, check out Miss Patsy
Cline. The best damndest singer who ever walked
the face of the earth. Nina's voice is gruff, and
her songs all sound the same. I do think she is
a good arranger/composer, but let's leave it at that.
But when it comes to great female vocals, no one can
compare to Miss Patsy Cline.

Favorite CDs of my collection
This is the set of CDs you want in the car for long rides or on the radio while puttering around the house. Her voice is like warm brandy, something to soothe you after a long day.

A great Artist
Nina Simone's 'I want some sugar in my bowl'is one of the greatest examples of how a song can transcend the musical element and become a political messanger, where the message becomes more thn the sum of its parts. There were better pianists that Nina Simone, and certainly prettier voices, but the selection in this CD show that there is no one with such an artistry. She basically invented what could be called the expressive bleat (with any other singer a major flaw). her cry is so direct, her sound so manly yet tender, this cd is a must. ... Read more

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Was Bette Midler playing on the title of Dinah Washington's The Swingin' Miss D when she named her 1972 debut? Washington would've been proud of this album's tune stack, which makes a sensuous slow-jam classic of "Do You Want to Dance?" by Bobby Freeman, salutes the Andrews Sisters' "Boogie Woogie Bugle Boy," and produces signature pieces of John Prine's "Hello in There" and Buzzy Linhart's "Friends." Midler might not have set out to reinvent the wheel, but on her first try, she outdid Barbra Streisand in taste, wit, and yes, sophistication. --Rickey Wright ... Read more

Reviews (17)

Joyously Alive
The Dixie Cups recorded Chapel of Love; Superstar was best know as a top 40s hit for The Carpenters; The Shangri-Las did Leader of the Pack. Every one from Tanya Tucker to Helen Reddy had a hit with Delta Dawn, and Boogie Woogie Bugle Boy is an Andrews Sisters classic. In fact, at the time this recording was released, there was very little on it that was strictly identified with the then-unknown Bette Midler, and although THE DIVINE MISS M received critical accolades it didn't exactly fly off the record store shelves.

But to my mind it remains the best Bette Midler album. Oh sure, Midler has done wonderful things since--great recordings that will stand the test of time--but in terms of overall success THE DIVINE MISS M is IT. And although most of these songs were made famous by other artists, once Midler gets hold of them she makes them her own. Delta Dawn becomes a mixture of pathos and unexpected sassiness, completely unlike any other version you've ever heard. The often-recorded Am I Blue, a staple of every torch singer that ever lived, suddenly belongs to Midler and Midler alone, and the Carpenter's version of Superstar seems almost dispassionate in comparison. She easily bests the Dixie Cups and the Shangri-Las, and even The Andrews Sisters are tossed about in the tide, with Boogie Woogie Bugle Boy both hommage and reinterpretation.

Crowning all this are two versions of Midler's signature tune Friends. The first version is a cute throw-away with a children's chorus, the second one begins in darkness and explodes into light to finish the album. Everything about this recording is beautiful, joyous, brilliant, passionate, and intensely alive. If there is such a thing as the artistic heir to the late, legendary Judy Garland, it is beyond doubt the equally legendary Bette Midler, and THE DIVINE MISS M offers her in all her youth, energy, and beauty. Your stereo is calling out for this one; don't wait. Strongly recommended.

Well-Rounded Album
This is Bette Midler's first and finest album. It's filled with standards, ballads, rock and pop songs. A great retro album that's retro itself!

Here the version of SUPERSTAR that inspired the Carpenters to record their slower and mellower version. Listen to the smooth DO YOU WANT TO DANCE? Sing along to BOOGIE WOOGIE BUGLE BOY and FRIENDS (2 different versions produced by 2 different people--one fo them being Barry Manilow!).

This is definitely a fun album that you will be listening for years!

Simply Divine...Simply Miss M
Well kids, who knew the girl from Honolulu, the outsider, would record such a timeless collection of hits and standards. There is not one debut album that I can think of that is as incredible as Bette Midler's "The Divine Miss M." This is Bette at her best, singing torch songs such as "Am I Blue," or knocking your socks off with a rocker such as "Hustler," or just having some kitch-y fun with "Boogie Woogie Bugle Boy" and "Friends." In March of 1999, I had the great fortune of meeting Miss Midler and having her sign my vinyl copy of this timeless record. As we were talking, I commented about how this was her best album and she was flattered that someone so young (I was 13 at the time) could appreciate such a classic album. Buy this incredible piece of work by an incredible artist! You won't be sorry! And just remember...
"You can like me the way I am or you can...KISS MY BRASS!"-a quote from the Divine Miss M's latest and greatest concert tour!

Seminal influence
This is one of the absolute best first albums by a pop artist to date. I remember sneaking my older sister's "Divine Miss M" album out of her room when she wasn't around and playing it on our "stereophonic hi-fi." (We're talking back in 1972 after all.) Imagine a 12-year-old girl from the 'hood crooning along with Bette Midler's "Am I Blue" and totally getting it! When I listen to this CD now, I'm still amazed at how she renders all the covers on that album as hers and hers alone...every single note, every single riff...

To any and all Bette Midler newbies...get this album.

The title of this debut album is actually an understatement
I first remember Bette Midler as this high energy insane woman who would show up on "The Tonight Show" and having Johnny, Ed and Doc be her backup singers on "Teenager in Love." Years later she was Johnny Carson's final guest, and having seen her live in concert I am here to tell you he could not have made a better choice because nobody performs better than the Divine Miss M. The title of her 1972 debut album put that persona in the public's mind and it remains not only the first but the most definitive Bette Midler album because everything she has done can all be traced back to the eleven tracks collected here. Along with "Songs for the New Depression" and the soundtrack for "The Rose," "The Divine Miss M" is a 1970s Bette Midler album that you have to own in your music library.

The song that caught the public's attention was her second single, "Boogie Woogie Bugle Boy," the old WWII Andrews Sister's song that Bette took to #8 on the Billboard charts (which is actually better than the original did). Midler did all the singing voices and while her singing ability has always been greater than her voice, this is the song that establishes her ability to maximize what she has and sell it like few in the business ever have. With "Chapel of Love" and "Leader of the Pack" on the album as well, it was easy for Midler to carve out her niche as the queen of retro kitsch, but she goes for much more than that with this album. This is why the other key song is John Prine's "Hello in There," where Midler provides the poignancy that would be a key part of her most successful ballads. The other song that stands out for me is her cover of "Delta Dawn," not so much for the version she sings here, but because when I saw her perform life this was the song that ended the first act and it was the surprisingly most memorable moment of a magic evening. ... Read more

Album Description

UK box-set featuring 99 tracks that highlight the late jazz icon's career between 1935-49. Backed by small All Starbands under Teddy Wilson's & her own leadership & the moreformal studio bands during her Decca days, Billie turnsevery song into poetry. Includes 56 page booklet with rarepictures, discography & story. Four standard jewel cases housed in a box. 2001. ... Read more

Reviews (5)

Better appreciated now than in her lifetime
Nobody sings the blues quite like Billie Holiday. This boxed set represents the best value for money, not only for the quantity of music and the extensive liner notes, but also for the sound quality and the fact that this contains music recorded for several different record labels (Brunswick, Vocalion, Commodore, Okeh, Columbia, Capitol, Decca) between 1935 and 1949. Billie continued to record great music in the fifties (for Verve, Clef and Norgran) but that music is not represented here.

Billie had plenty of hits on the American pop charts between 1935 and 1938 (when she was with Teddy Wilson), after which she had just four more hits, none of them reaching the top ten. However, the passage of time has added substantially to her credibility as many blues, jazz and R+B singers cite Billie as one of their influences. Her first hit was What a little moonlight can do, a song I first came across via a Crystal Gayle cover. I didn't realize the song's origin at the time but I've heard several versions since. I love them all but Billie's is the definitive version.

Billie's other classic hits included here are These foolish things, A fine romance, The way you look tonight, I can't give you anything but love, I've got my love to keep you warm, This year's kisses, Carelessly (her only number one hit), How could you, Moaning low. Mean to me, Easy living, Me myself and I, Sailboat in the moonlight, Nice work if you can get it, My man, You go to my head, I'm gonna lock my heart, Strange fruit, God bless the child and Trav'lin' light. Some big hits are omitted including Twenty-four hours a day, Who loves you and Pennies from heaven, but I'm not complaining. Some of the songs that Billie is best remembered for didn't chart at all.

Although the hits became rare after 1938, this was not due to the quality of the music. Listen to Billie's versions of such classic standards as I gotta right to sing the blues, Night and day, Body and soul, Let's do it, All of me, Love me or leave me, It's a sin to tell a lie, As time goes by and You're my thrill (to name a few). And, of course, there's the classic That old devil called love, revived by Alison Moyet in the eighties, when it became a UK number two hit for Alison.

If you only buy one collection of Billie's music, make it this one. You might begin by asking yourself if you really want five hours worth of Billie's music - but eventually, you are likely to ask yourself if it's enough.

Ditto!
Great sound quality, great packaging, great liner notes and booklet. 4 discs, 99 songs, 21 bucks. How can you beat the value?

It sure beats any other "best of" out there. Why save $6 to get one disc with 10 to 20 songs. (And unlike the Ken Burns collection, the songs on this box set sound great).

Most, if not every, Holliday song on every label released between 1935 to 1949. Now you've got the early to mid (and in many people's minds, the best) recording eras of Holliday covered.

Buy it as an introduction to Lady Day. Keep it as a collector.

PROPER does it again...
For the price, this is as good a collection of Billie Holiday's early material (for some, the ONLY Billie) as there is out there. Almost all of the essential recordings are included - Brunswick, Vocalition, Decca, Columbia, and Commodore - and the presentation includes a great booklet with photos and information. Proper is in the process of putting together and releasing some of the best American music - both jazz and other-wise - in stunning compilations with great presentations. Look for more of them.

THE LEGACY IS THERE
Maybe for today's crowd,four cds of BILLIE HOLIDAY in her greatest years can be hard to digest.Don't feel sorry for yourself,because sooner or later,if you have any interest in jazz singing,this PROPER box set will do the trick.Don't listen to this only once,repeating listenings are recommended to have you hooked on BILLIE.The musicians who played on these famous sessions are among the finest of the era.Even if you don't look at the credits,one can easily know when LESTER YOUNG is soloing,his economical solos always hit home.Be aware that this is the thirties and the forties, when conductors were not stars the way they will be in the fifties.Many will find that all the songs sounds the same.While there is some truth to that,you've got to figure out the contect of these recordings to fully appreciate them.Maybe i seem to act like an history teacher reviewing this,if so i am sorry.BILLIE HOLIDAY has inspired countless singers that came after her who often recorded tribute albums.

One of the Best Kept Secrets in Recorded Jazz
If you haven't purchased one of Proper Record Company's extraordinary jazz boxes, you don't know what you're missing; and this release, THE LADY SINGS, is the best of the bunch. For the past few years, Proper has researched and assembled the most critical recordings by leading jazz performers from the first half of the last century, and packaged them in four-disk sets with extensive booklets that actually have something new to say -- all for a super, super budget price. Their remastering is so skillful, recordings such as Billie Holiday's here --stand up to the best remastering efforts of Decca and Sony. The richness and value of this collection -- as with other Proper Boxes from the UK -- are simply extraordinary. From her affecting Brunswick recordings of the early 1950's with Teddy Wilson and his Orchestra to her sides with Decca, Commodore, Columbia and Vocalion, Holliday's accompanists read like a Who's Who of classic jazz. Lester Young. Ben Webster. Roy Eldridge. Kenny Clarke. Benny Goodman. Milt Hinton. And some of her most celebrated material is here. God Bless the Child. My Old Flame. Gimme a Pigfoot. Lover Man. As Time Goes By. I Hear Music. I Can't Get Started. Almost 100 songs, flawlessly restored and a far better value than expensive sets such as the new Sony compilation, Proper's BILLIE HOLIDAY: THE LADY SINGS is simply a pleasure. It's great music to listen to by a roaring fire. Wonderful to play after a long, hard day.
Good anytime you need a lift. Strongly recommended. ... Read more

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With her combination of jazzy cool and kittenish charm, it's probably safeto say that JessicaMolaskey has entered the realm of "phone book singers," i.e., those whoyou'd pay to hear vocalizing anything.As anyone who remembers her "Stars and the Moon" from Jason Robert Brown's Songs for a New World knows, Molaskey made her name in musical theater, and it's those roots she returns to in Make Believe after her previous solo albumscovered the Depression eraand '50s jazz.That includes chestnuts like "All That Jazz," which though familiar and obvious, still sound great, and representations from Broadway's new generation: Adam Guettel duets on Rodgers and Hart's "Glad to Be Unhappy," Brown arranges a frenetic combination of the Lambert Hendricks and Ross favorite "Cloudburst" and Stephen Sondheim's "Getting Married Today," and Ricky Ian Gordon cowrote with Molaskey "Cradle and All."As usual, husband-guitarist John Pizzarelli accompanies and vocalizes on a couple tunes, and Sondheim's gorgeous "So Many People" is another highlight. --David Horiuchi ... Read more

Reviews (10)

One of the BEST.
This is the perfect CD for anyone. My favorite tenor sax man and one of the best pianists and rhythm sections in jazz history, make this a must have. An excellent introduction for anyone not familiar with jazz or Ben Webster and Oscar Peterson, as well as a marvelous addition to the experienced listener or musicians jazz library. I'd give it five billion stars if I could!

P.S. You know it's going to be good if it's got O.P.!

Jazz at Its Best
They don't come much better than Ben Webster and Oscar Peterson. And this CD demonstrates why.

From Webster's opening on "The Touch of Your Lips" to the final notes of "This Can't Be Love", these two great artists combined to create one of the best albums in jazz history. Its impossible to listen to this and not find yourself getting carried away. The highlight of the album, though, is Webster's rendition of "In The Wee Small Hours of the Morning". As the liner notes state, its not surprising that Webster captures this Sinatra classic perfectly given the fact that he'd probably listened to it hundreds of times before this recording was made. All the same, the lush, lyrical, tone he achieves is simply awesome, and it lead me to wonder what a duet between Ben and Frank might've sounded like.......

Not only do you need to buy this album right now, when you get it you need to play it as loud as possible with all the windows open. Everyone in the world deserves to hear this one.

Some Of The Old Ones Are Still The Best!!!
This is some of the most recognizable music that is good jazz that you will come across. The combination of the Oscar Peterson Trio with the breathy sax playing of Ben Webster gives a specail warmth and sentiment to these standards. As has been mentioned by other reviewers, "In The Wee Small Hours" is instumentally the equal of what Sinatra did for the tune vocally. Webster had an entirely different tone on faster tunes....more robust with some rasps and growls. One can hear a hint of this on the mid tempo "Sunday".

Look at the rest of these reviews and you have to conclude this is a necessity for your collection if you're a serious lover of mainstream jazz, the master saxwork of Ben Webster, or the equally excellent playing of the Oscar Peterson Trio. It was one of the best buys I've made for my collection!

NOW THIS IS WHAT JAZZ IS ALL ABOUT
Ben Webster and Oscar Peterson...two of the most revered names in music history. It doesn't get much finer than this album. While this CD will leave you yearning for more because there are only a handful of tracks here; the sentiment and urgency of the playing here transports one to uncharted delightful heights. When I first heard this version of IN THE WEE SMALL HOURS OF THE MORNING, I suspected it was Ben Webster, but literally stopped what I was doing and hoped the radio station would announce who it was (luckilly they did and I confirmed what I thought!) What a great surprise it was to find my favorite pianist, the immortal Oscar Peterson was backing Ben on this wonderful album!
At that point I rushed to find this CD. The ballads, in addition to the aforementioned WEE SMALL HOURS, are absolutely gorgeous. The beautiful heartache in the reading of WHEN YOUR LOVER HAS GONE borders on definitive. SUNDAY and THE TOUCH OF YOUR LIPS lope along in a somewhat swinging vein, and are equally as classic. Norman Granz often paired up some unlikely stars with fantastic (and sometimes surprisingly so) results. This is one such occassion that really comes across. A classic album that must be heard and must be had!

A Masterwork by Two Masters
Wow. I dug this CD out of my collection today and had another listen, and I'm sure glad I did.
Today's jazz is all over the place, with different jazz styles and a lot of indifferent playing as well. But this recording is the work of 2 masters of their instruments. Swinging, bluesy and melodic, all of the tunes are on a such a high level. It is a delight to listen to, and never gets stale. Anyone can swing and play a lot of notes, but it takes a real master to play ballads. Ben Webster's playing on this recording is at the very highest level ever recorded. He's authoritative, bluesy, and seductive.
This music has a quality you just don't hear anymore in today's jazz. It comes from an era (1959) when all of the very best jazz musicians were alive at the same time, competing for an audience and listening to each other's recordings.
Whether you are a collector, or just a listener who appreciates great music, this is a must buy. ... Read more

Reviews (4)

A Dance teachers opinion
Because the Waltz and the Fox Trot are the most popular of the standard ballroom dances I think this CD hits it right on the nose by featuring just these two. I've competed in ballroom dancing and am now teaching a beginning level class. The beats are easy to follow and pick-up on. The tempos are just right. The songs make it easy to get lost in your own little dancing world. I prefer to dance these two dances with songs that have lyrics (not just insturmental) and this CD provides that feature. Charming, and practical this CD is an excellant choice for your ballroom dancing CD collection.

I really like this CD! It's great for listening or dancing.
I just started dancing Smooth/Standard and this collection of songs were familiar favorites of mine from "easy listening" radio stations. The music is well-done and presents a nice mix of speeds for novice or expert dancers. I particularly enjoy the waltes.

Excellent for practicing Fox Trots and Waltzes
This CD is divided by dance. The first 9 pieces are Fox Trots and the next 6 are Waltzes. This set up allows for continuous practice of each of the two dances. The music and songs are performed by well known artists and are delightful to listen to. A must for your ballroom dance CD collection, regardless of your dancing ability.

A great collection of 8 Fox Trots, 7 Waltzes
A great collection to practice your steps and dance to. The CD is arranged with the first 8 songs as Fox Trots (most are slow, 30 bpm), including There Will Never be Another You (Andy Williams). The next 7 are Waltzes, including Charade (Andy Williams), and others from Englbert Humperdink and Henry Mancini. ... Read more

Reviews (3)

Creme De La Creme
There are not enough adjectives for the tremendous impact of this recording - all it takes is one play - one memory - cascades! These ladies are to "Die For".

Billie, Ella, Lena, Sarah - their best was yet to come.
This collection was first issued in the mid '50s as "Ella, Lena and Billie" - Sarah was added later - and if you don't know these great vocalists by their first names, you must be from the Moon. The sessions by Billie and Ella are from the '30s, and Lena's sessions are from 1941. Most of these numbers were recorded with a Teddy Wilson-led band which included several of Basie's sidemen. The Sarah Vaughn numbers were recorded in 1950 with a lineup that included Miles Davis on trumpet. It's wonderful to hear these singers in the early stages of their careers. The sound quality is better than one might expect.

A great sample of early jazz queens !!
This album introduced me to jazz a couple of years ago. Now, I'm a big fan. I know the work of Amstrong, Chet Baker, Stan Getz, Nina Simone and others. Still, this is the best I have.The lyrics, instrumental richness and even the imperfect recording quality makes it really charming and beautiful. Horne's emotion in "Prisioner of Love" and all Sarah's performances give it an extra star. ... Read more

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Guilty may well be Barbra Streisand's best pop album. At the peak of her late-'70s popularity, she hooked up with the Bee Gees' Barry Gibb, who himself was basking in his Saturday Night Fever glow. Gibb wrote and produced most of the material on 1980's Guilty, and he supplied background vocals as well as co-leads on two tracks. The results are still completely bewitching. "Promises," for instance, is a lounge-like dance number and Babs sounds simply fabulous--sexy, lighthearted, passionate, playful--all at once. "Life Story" is a wild epic, and "Make It Like a Memory" keeps soaring up and up into a stratosphere of shag-carpeted luxury. Even Gibb's wavering vocals are great--and not a little like a disco version of Mandy Patinkin. And of course, the hits are out of this world: "Woman in Love" and "What Kind of Fool" are titanium-plated classics the likes of which Streisand has not topped since. A guilty pleasure, sure--just indulge. --Elisabeth Vincentelli ... Read more

Reviews (48)

Everything a contemporary pop album should be.
Her biggest selling album, GUILTY is easily Barbra Streisand's best contemporary pop effort to date. Barry Gibb's skilled production hand gives GUILTY an added sense of cohesiveness, something that was sorely lacking from many of Streisand's late-seventies pop efforts. Gibb (along with Albhy Galuten and brothers Robin and Maurice) also had a hand in writing every one of the nine melodic songs and even duets on two of them.

Their pairing produced a monster hit with the riveting title track (#3 Pop, #5 Adult Contemporary), however it's actually the other Streisand-Gibb smash duet "What Kind Of Fool" (#10 Pop, #1 Adult Contemporary) that proves to be the disc's show-stopper. Gibb's production and voice are an inarguable key to GUILTY's success, but it is Streisand's magnificent vocals that provide the album with it's soul, that's right soul. The chart-topping smash "Woman In Love" (#1 Pop, #1 Adult Contemporary) was the leadoff single and stands a slice of pure pop perfection, with Streisand's performance as thrilling as any ever captured on record.

Amazingly enough for a pop record, the remaining six tracks more than hold up to the three big hits. The restrained ballads "Run Wild" and "The Love Inside" are absolutely gorgeous, while the seven minute-plus "Make It Like A Memory" plays out like mini-pop symphony. Barbra even ventures into dance territory with "Life Story" and the international hit "Promises" and really brings these tracks to life with a sexy exuberance. Even the slightly dated light funk of "Never Give Up" is a slinky delight. GUILTY was a massive hit upon release, hitting #1 on the Hot 200 and achieving Quintuple Platinum status in US sales and selling nearly 20 million copies worldwide. This success is hardly surprising as GUILTY is simply everything a pop album should be.

"Guilty" is Barbra's best Pop Album...
-------------------------------------------------> In 1980, following her #1 duet with Donna Summer ("No More Tears/Enough Is Enough"), Barbra released the first single from her new album... "Woman In Love". It quickly rose to #1 and was certified gold. Shortly thereafter, the title track "Guilty", a duet with Barry Gibb, was released and rose to #3. It also went gold and won a grammy for best pop vocal duet. Then came the #10 follow-up duet with Barry Gibb "What Kind of Fool", and then the #48 single "Promises".

"Promises" was remixed as a 12" single. It was released again in the late 80's as a part of Columbia Records "Mixed Masters" series and was backed with Barbra's 12" version of "The Main Event". It's a great track and I only wish Barbra would have it re-mixed for the 90's!

What is so special about "Guilty" is not only Barbra's voice being in peak form, but that these songs are a departure for her. The lyrics break from her self-stated style of being... "a story - with a beginning, middle and an end". The lyrics are often vague and esoteric and open to all sorts of interpretations.

On the plus side: To date, this is Barbra's best selling album. Barbra is cosidered by many to be the greatest female vocalist of the the 20th century...this album shows you why.

On the minus side: One reviewer likened Barbra's "Guilty' duet with Barry Gibb as sounding like a duet between Mae West and Don Knotts. "What Kind of Fool" was originally planned as a solo, and should have been. "Never Give Up" is pure forgettable bubble-gum.

Sadly, "Guilty" was Barbra's last hurrah at main stream Top 40 radio. Aside from her very next single, the #11 "Comin' In & Out of Your Life", Barbra has never had another Top 30 solo-single. Maybe her last album of the 90's, the forthcoming "A Love Like Ours" will change that!

Best cuts: Woman In Love, Run Wild, Promises, The Love Inside, Life Story and Make It Like A Memory.

"Guilty" Pleasure!
Admittedly I am much more of a Barry Gibb/Bee Gees fan than a Streisand one, so much of the appeal of this album is based on Barry Gibb's instantly recognizable songwriting and production style. However, this is a rare instance where a truly first-rate vocalist takes her shot at pure pop music. The results, to put is simply, are spectacular, and a once-in-a-lifetime classic.

Streisand found Barry Gibb at the absolute top of his game as a writer and producer, and added a strong and sure voice to the laid-back, butter-smooth melodies and harmonies of the Brothers Gibb. How he was able to reign in some of Barbra's occasional vocal excesses remains a mystery, but it is not just Streisand's best album, it is arguably the best one Barry Gibb ever produced, too.

Although "Guilty" and "Woman in Love" are the most-well known tracks on the album (the latter being of the absolute best pop songs of the late 70s/early 80s), most of the tracks are strong performers. Except for perhaps "The Love Inside" which drags somewhat and "Run Wild", which isn't sure where it wants to go, that is.

The real sleeper here is "Promises". It was released as a single, and was little-noticed, but in its own way, it is the pinnacle of the album. The easy-going groove is easy to get lost in, and one of the handful of tunes I can play endlessly without tiring of it.

"What Kind of Fool" is an exercise in meloncholy, but is a vocal gem.

"Make It Like a Memory" is the last, and longest track. Starting off slowly and gently, it builds in both drama an momentum until it explodes in a classic Bee Gees-style stomp, leaving the listener feeling like he or she just had a whole pan of double-fudge brownies. A completely "Guilty" pleasure!

MOR FM Pop Gloria In Excelsis
The late 70s/early 80s white-hot streak of pop heaven the Bee Gees were associated with was already mentioned by a previous reviewer. I suppose radio listeners probably grew tired of that fluffy, warm cotton swab soundscape, but listening to "Guilty" after all these years is still so much of a rapture i can't manage to escape the thrill!
I have no patience for Barbra and her "classy popular performer" appeal. I like her when she is the vessel to someone else's thoughts and ideas: she is far 2 conventional 2 be truly appealing on a deep level. But her voice soaring above the celestial lounge-funk of these tracks is like a polished operatic blues singer engraving gold on every word and clearing ambiguities with her special kind of hypnotic subtlety.
There's gorgeous funky pop - "Guilty", "Promises" - and amazing slow burners - "Life Story", "Run Wild". "Life Story" is an amazing paranoid accusation of jealousy: everytime i hear it i immediately long for the bridge - "Deeper than your valleys, longer than your memory, I go to your story's end" - and tremble at the recognition that it hits the spot everytime! I'd call "Run Wild" cosmic, but i suppose it translates into something laughable. Yet cosmic is exactly what it is. "Make it like a Memory" is simply blues meets opera with a somewhat complex structure - ok, it's not Stravinsky, but it's way above most pop/rock. Her duets with Gibb - "Guilty" and "What kind of Fool" - are perfect vocal marriages; "Love Inside" is heavenly and nostalgic with almost Platonic tinges.
Finally: the number one single, "Woman in Love", is like a carousel you get trapped in notwithstanding attempts to avoid getting caught in the dizzy giddiness of it. Barbra pushes the song to higher and higher levels and it seems to extend itself beyond the material and into the metaphysical.
This is really a rare album, one i started listening to during my childhood thanks to my cousin, and has never exhausted itself throughout repeated listenings...

Pop Perfection
For anyone who enjoys popular music, this collaboration between Barbra Streisand and Barry Gibb is sheer perfection. For the type of music it is, it couldn't possibly be any better. It is thoroughly enjoyable, supplying ballads, athems, and dance music. Barbra's voice is alternately delicate and strong, sexy and angry, gentle and powerful. Her voice is, in a word, sensational. The compositions sound as if they were written specifically for her (and all but "The Love Inside" were). Her duets with Barry Gibb, though perhaps unexpected by some, are pitch perfect. This is pop perfection. ... Read more

Reviews (3)

THIS is how Cole Porter 's music SHOULD be sung
Well - I listened to the recently released "De-Lovely" soundtrack a couple of times and it left me empty so I went looking to fill my cup and found what I was looking for in my stack of cd's. If you REALLY want to hear Cole Porter's stunning music at it's very best get this cd. There is a reason why Frank Sinatra has 550 available items here in music at Amazon.com. You won't feel so empty after seeing the movie if you fill your soul with music from these tracks.
Sinatra sings:

"Night and Day;"
and my favorite Cole Porter tune: "Begin the Beguine;"
"I Get a Kick Out of You with" a kick;
the most loveliest of lovely -"I Love You;"
Medley: "Easy to Love/I've Got You Under My Skin;"
"Don't Fence Me In;"
"I Concentrate on You;"
"Why Shouldn't I;"
"Just One of Those Things;"
"Why Can't You Behave?" - Phil Moore Four;
"So in Love;"
"You'd Be So Nice to Come Home To" - June Hutton;
"Cherry Pies Ought to Be You" - Rosemary Clooney;
"You Do Something to Me;"
"I Am Loved"
"You Don't Remind Me"

These beautiful songs deserve this special treatment.

YOU'LL BE ASKING FOR MORE
After all the collections,bests of and others pieces of nostalgia available under the name of FRANK SINATRA,we could ask ourselves is their anything left worth buying?Buy judging with this cd,it seems that the COLUMBIA vaults are still full of hidden treasures.These are not leftovers,they are worthwhile recordings that will pleased both FRANK SINATRA and COLE PORTER fans.Those radio era recordings have a spontaniety that make them special.The duet with ROSEMARY CLOONEY:CHERRY PIES OUT TO BE YOU is certainly the highlight because all the other songs if you except YOU DON'T REMIND ME are of course well known by PORTER devotees.Don't be ashamed to buy this,you should not regret it.My little finger tells me that the collection won't stop with PORTER and GERSHWIN...

"classic sounds of radio recordings ~ Sinatra"
Another winner from an ongoing series from Columbia/Legacy "Sinatra Sings Cole Porter", all the brilliant songs from Porter done in the Sinatra style. Listen to the swooning and screaming girls in the audience when Frank sings the tune "I Love You", you can relive all those wonderful moments through the magic of digitally remastered original recording sessions.

Stand outs are "I CONCENTRATE ON YOU", as Sinatra's lyric interpretation grabs you and your heartstrings are being tugged ~ "WHY CAN'T YOU BEHAVE", featuring the Phil Moore Four and Frank's laid back style with a hint of Johnny Mercer coming to the surface ~ "SO IN LOVE", haunting arrangement by Axel Stordahl as the power of the vocalist is right on.

Highlight has to be "CHERRY PIES OUGHT TO BE YOU", featuring a singing duet of Rosie Clooney and Frank give out a super-duper performance, sounds as if they enjoyed themselves...I know we did.

And Sinatra fans, when Frank sings "I AM LOVED", we know what he's trying to say...we loved you Frank, and still do and always will...you have left us a legacy that will go on forever ~ great job Didier C. Deutsch, Charles L. Granata and Andreas Meyer are the folks who compiled this wonderful selection of tunes that we are enjoying ~ a must have collectible collection for all Sinatra and Porter Fans!

Total Time: 53:17 on 18 Tracks ~ Columbia/Legacy 61058 ~ (7/22/2003) ... Read more

Amazon.com essential recording

As conceived by Stephen Sondheim and cocreator James Lapine (following their Pulitzer Prize-winning Sunday in the Park with George), Into the Woods tells the intricate tale of multiple fairy-tale characters crossing paths in the woods, not merely resolving the characters' dilemmas but also exploring what happens after happily ever after. Sondheim's chamber-scale music, recipient of the 1987 Tony for Best Score, is one of his most beautiful and accessible, and is at its most poignant in "No More," "No One Is Alone," and "Children Will Listen." The original Broadway cast is outstanding top to bottom, most notably Bernadette Peters as a rapping witch and Joanna Gleason, who won a Tony for Best Actress. The CD booklet includes production photos and--so important for a Sondheim show--full lyrics. Fortunately, this cast was also captured on video and DVD. --David Horiuchi ... Read more

Reviews (94)

A great musical by a great composer
Personally, one of my favorite composers, Stephen Soundheim, has struck a beautiful chord with his most popular show, "Into the Woods". Filled with love, hate, humor, magic and incredible music, "Into the Woods" is one of the masterpieces of the modern stage. The first act, with songs like "Into the Woods", "Hello, Little Girl", "Giants in the Sky", "Agony", "It Takes Two" and "Stay With Me", has an upbeat score, typical of a fairytale musical complete with happy ending. But as we get to the second act, things turn terribly wrong with songs like "Moments in the Woods", "Your Fault", "Last Midnight" and "No More" and the show has a more creepy feel. But as we reach the end, things turn out all right with the obvious themes of the show "No One is Alone" and "Children Will Listen". WIth stellar performances by Joanna Gleason and Bernadette Peters, this original cast album is a treasure that no other cast will be able to beat.

Fundamentally entertaining...
This is not my favourite version of Into the Wood. The reason for that being that it's not expertly acted. I think the cast was a bit green when the recording was made. If you view musical theatre primarily as drama - drama enhanced by songs -, and if you think Sondheim's dramatic and elaborate lyrics should be taken full advantage of by the best actors around - actors who can sing -, then you should go for the OLC or the video version of the Broadway show (which contains more matured performances). But if great voices and great singing are basically what matters for you, then certainly you will have a great time with this recording. This Broadway version is light and even a bit naïve. There's no subtext in it, no great psychological depth and not much to reflect upon, but it's thoroughly enjoyable and as fun and entertaining as you could possibly expect from a comedic musical based on fairy tales. Joanna Gleason excels as the baker's wife and Bernadette Peters sings as beautifully as ever. Even if this production fails to make the most of Sondheim's wonderfully dramatic and intricate lyrics, it gloriously succeeds as a musical piece.

One of Sondheim's best!
INTO THE WOODS is one of Stephen Sondheim's best musicals! INTO THE WOODS was the first musical that I ever saw (I was six) I caught the acting bug right then and there. Since that time, I've had the priviledge of acting in several productions written by Mr. Sondheim, including INTO THE WOODS.
INTO THE WOODS weaves together two of the most important things in musical theatre: a wonderful story and beautiful music that relates the story to the actor and audience alike. Bernadette Peters is wonderful in this production as the Witch. No other actress could capture the wickedness of the witch in the first act, but also the vulnerability that she feels after she realizes that she's all alone in the world after Rapunzel leaves. Even though this recording does not include the charming "Our Little World" (which was written for the show after this recording), it is still a wonderful showcase of Mr. Sondheim's masterful work. I recommend it for anyone who is a fan of musical theatre and wants to explore their inner child.

Ms. Peters at her best!
My children and I are such a fan of musicals as a genre but, "Into the Woods" has become hands-down a family favorite. Ms. Peters is outstanding as usual, but this is truly her best performance ever. This particular style displays her campy demeanor to its best while at the same time drawing from a poignant place within her soul in "Children Will Listen."

It's truly a show the whole family can enjoy. Children will enjoy the fairy tales woven throughout while adults are able to appreciate the nuances of humor which are abundant. It is definately a new twist to the fairy tales of old.

Joanna Gleason shines just as bright as Ms. Peters with her portrayal of the Baker's wife. Kim Crosby is wonderful as Cinderella. The rest of the cast gave stellar performances. The portrayal of Rapunzel was not quite in the same class as the rest of the cast, but was still good.

There are so many good moments within this cd: "Agony," "It Takes Two," "Moments in the Wood" and my personal favorite "Last Midnight."

AWESOME MUSICAL!!!!!
what else is there to say?? when you first listen to the prolouge you will instantly love this musical! i am a major fan of stephen sondheim and i am just in awe in his works! Into the Woods, which i have performed as the narrator, is one of my most favorite musicals! the complicated lyrics, characters, the music, you will be instantly drawn into it, like i have!! ... Read more

Amazon.com

CBS's 1957 television production of Rodgers and Hammerstein'sCinderella has the polished yet untampered sound of a live Broadway musicalrecording, despite the fact that the album was recorded in advance of the televisionbroadcast. Julie Andrews stars as Cinderella, and her clean yet vulnerable voice perfectlysuits her role as the picked-on dreamer in rags. The tracks play like a Julie Andrewsshowcase: her voice dominates the selections for both its distinctive qualities and the factthat she is featured in more songs than any other performer. The CD features fouradditional bonus tracks, including a piano version of "In My Own Little Corner," sung byAndrews. --Bryony Angell ... Read more

Reviews (18)

Essential Rodgers & Hammerstein
While Rodgers and Hammerstein's main plays have been adapted to film with varying success, the songwriting team made a very successful venture into television in 1958 with their original version of "Cinderella." Even though I've always found Julie Andrews more annoying than enjoyable, in this CD, her talents are given a chance to shine, with her excellent reading of Hammerstein's lyrics in such songs as "In My Own Little Corner," and "Do I Love You Because You're Beautiful." The terrible thing is, while a kinescope of this 1958 performance does exist and has been shown at broadcasting museums, it's the lackluster early color TV version from 1964 and the even worse 1990's version that are easily accessible to fans for video. Listen to this CD to hear the charm of Hammerstein's lyrics and one of the best scores Richard Rodgers turned out in the 1950s. The fact that he was battling depression right around the time he was scoring this TV production is unnoticeable. This score is up there with the classic R&H shows, "Oklahoma!", "South Pacific," and "The King and I."

The best Cinderella; too bad the show's not available
This is the original recording of one of Rodgers and Hammerstein's best but most overlooked scores. This was also one of their last scores, as only "Flower Drum Song" and "The Sound of Music" came later. They and CBS were very wise to cast Julie Andrews (who they wrote the show for) who was at that time in peak voice. This was her third major production; she had previously starred in "The Boy Friend" (1954) and "My Fair Lady" (1956), and took a break from My Fair Lady to star in Cinderella. The rest of the cast is wonderful.

This should be the Cinderella by which all Cinderella's before and since are judged, but it's a shame that it's not (and you can thank Disney for that). However, I will make some comparisons. The 1965 remake of this Cinderella starring Lesley Ann Warren is also very good, nearly as good as this, but the atrocious Brandy remake from 1997 does not even come remotely close (where did all the extra Rodgers and Hart songs come from?).

This original Cinderella should be made available to the public, for it would be a great success if it were. After all, the technology needed to restore the black and white videotape (which is what was used to broadcast the show on the west coast in 1957 on the same day it was broadcast live and in color in the east) is there and if you can get past the show being in black and white, you should be able to enjoy it. There's no reason why the show should not be restored and releasd. The 1957 TV broadcast of "Annie Get Your Gun" starring Mary Martin also nearly vanished forever until a kinescope was found and released on videocassette about 10 years ago. Of course the recording of that production still lives on in perpetuality.

Until we can see this production released on DVD or something, we'll have to live with its wonderful cast recording.

Enchanting! What more can one say?
By conservative estimates more than 100 million people watched Julie Andrews in the live telecast of CINDERELLA on March 31, 1957. And most of them went out the next day and bought the Lp - the can be no other explanation as to why well-worn copies turn up in even the smallest of used record stores. This newly re-mastered Cd has rendered the Lps obsolete...but the score and performances live on. (Good news for fans: The original kinescores are scheduled to be released on VHS and DVD later this year, Until now they were only in the hands of a few collectors who would charge outrageous prices to make you a poor quality copy!)

This recording - made 2 weeks before the telecast - finds everyone in excellent voice. This is not taken from the broadcast...by the time the telecast happened a few changes were made. "The Prince is Giving a Ball" was used as the opening number, followed by "Overture" (or, to use the proper title, "The Mother daughter march") and some of the lyrics were re-written. No matter, the story comes through in these tracks and as a bonus we hear four selections from an earlier demo album sent to radio stations in advance to promote the broadcast.

Julie is - as always - a joy. She IS Cinderella. Edith Adams is perfect as the fairy Godmother. The whole cast right down to Dorothy Stickney and Howard Lindsay as the Queen and King not only bring the characters to like but seem to be thoroughly enjoying the task. It is a disc for music lovers of all ages!

Julie Andrews as Cinderella; heavenly!
RODGERS AND HAMMERSTEIN'S CINDERELLA was first transmitted live on television in 1957. All that remains of that historic telecast is a grainy kinescope taken by the technicians and the sparkling cast album recorded just days before the musical went to air.

Julie Andrews, fresh from the Broadway run of MY FAIR LADY, is a radiant Cinderella. Rodgers and Hammerstein's cotton-candy score is well-suited to her lovely voice. The amazing cast also includes Alice Ghostley (NEW FACES) and Kaye Ballard (THE GOLDEN APPLE) as the Stepsisters, Ilka Chase as the Wicked Stepmother, Edie Adams (WONDERFUL TOWN) as the Fairy Godmother and Jon Cypher as the Prince.

The romantic score gave rise to a number of memorable songs including "In My Own Little Corner", "Do I Love You Because You're Beautiful?", "A Lovely Night", "Stepsisters' Lament" and "Waltz For a Ball". The instrumental dance number "Gavotte" is heavenly, too.

2 years later the musical was staged in London as a Christmas pantomime starring Tommy Steele and Yana (cast album from Bayview Records), and in 1966 was taped for prosterity in an all-new production starring Lesley Ann Warren and Stuart Damon.

However, the magic is palpable still in the gorgeous 1957 cast album of this lovely score. Highly-recommended.

Another great Columbia remaster
This score and performance is on par with the recent releases of Sound of Music and South Pacific. For me, the key is always whether or not Robert Russell Bennett is involved. I wouldn't even touch an album without him on it (yes, that is an elitist attutude). And his sparse but lush orchestration is in top form here. Cinderella is as lush as Sound of Music. Although there aren't as many memorable sing-along hits as with other popular shows, Cinderella's lietmotif (the melody from In my Own Little Corner) is so hauntingly beautiful that it will make you want to listen to this album over and over. The only bad thing I can say is there are only 51 minutes of music on the disc, including the 4 bonus tracks. However, that is no reason to pass this treasure up. ... Read more

Reviews (29)

Fantastic Sountrack to a great movie
In Yentl Barbra returns to her roots to record songs with a more traditional broadway sound and the results are astounding. It is clear barbra feels passionate about the story she is singing/narrating and one can't help getting caught up in that emotion. Admittedly the material isnt all first rate, the lyrics on some of the songs(Piece of Sky, One of Those Moments etc..) are just rediculous, but Barbra's delivery is so fantastic it's easy to ignore it. On this album you also see Barbra incorporating her ability to belt as well as her ability to sing soft tender music, it's just one of those albums a Streisand fan lives for. get it!

Barbra's Masterpiece Marred By Poor Remastering!
The Michel Legrand melodies are lovely & the lyrics by Alan & Marilyn Bergman are perfect. Barbra delivers the songs with passion & perfect pitch BUT the CD sounds terrible.

Barbra's voice is too sharp & the music accompaniment sounds very far away. There is no musicality. The CD sounds very clinical & antiseptic!

A piece of brilliance.
Like the film of the same name, the YENTL soundtrack is a massive success for Barbra Streisand, both personally and professionally. This was her dream project, and she was determined to make every aspect of YENTL come alive with class and brilliance. Composer Michael Legrand is an unrecognized genius, and his score is both complex and inviting. Alan and Marilyn Bergman have penned the lyrics to many of Streisand's best-loved recordings, but they really outdo themselves here. Their words and Legrand's music complement each other perfectly, and their collaboration is largely the reason the album is as consistent and as cohesive as it is.

However, the main factor to YENTL'S artistic success is the phenomenal vocal performance of Barbra Streisand. This album was recorded twenty years after her official studio debut, and she has never sounded better than she does here. Whether the tone of the song is anguished ("Where Is It Written," "Tomorrow Night"), euphoric ("This Is One Of Those Moments"), or incredibly sensual ("The Way He Makes Me Feel"), Streisand's hushed restraint and dramatic range are nothing short of incredible. Her phrasing is put to excellent use in "Will Someone Ever Look At Me That Way" and the three renditions of "No Wonder" (each with different lyrics and a different meaning), while both "No Matter What Happens" and "A Piece Of Sky" are terrific showcases for Streisand's astonishing vocal prowess.

YENTL also marks the first appearance a "Papa, Can You Hear Me," which instantly became one of Streisand's signature songs due largely to her intensely soulful performance. A Top Ten, Platinum-selling album, YENTL is a recording that is very close to the heart of many Streisand fans. It is a project that Streisand believed in with all her soul, and both the film and it's soundtrack remain near the top of the list of the best things she's ever done.

SAM FORD, You're Deaf
Only Barbara can sing these songs with the exact right emotion and timbre. She is the muse for this piece, it's her heart and soul. I'm sorry, but Charlotte Church can't shine Barbara Streisand's shoes.

Nice music, but it lacks something...
Barbra Streisand does have a great voice, but it sounds much too mature for Yentl, who is supposed to be a younger woman(sorry about that Barbra!), but she really packs the emotion for Yentl. Papa, can you hear me? is the reason why I picked this out. Babs does a good job, but I think Charlotte Church does a better job; she has a younger, more vulnerable voice. Most of the other tracks sound like voice exercises instead of songs. I know this is supposed to be a more uplifting film, but part of me feels it should be more on the melancholy side(especially with moments like Papa, can you hear me? And with titles like A piece of sky)
but I like it anyway. When it come to A piece of sky, that is the most touching, emotional moment on this thing. The lyrics mean so much to me spiritually, and towards the end of the song I see a young woman in broad fields, looking up at the sky(that shows what a visual person I am!). Just magnificent! ... Read more

Album Description

The esteemd Canadian jazz pianist's 1993 debut album, her sole release before signing to GRP in the U.S. 'Stepping Out' features John Clayton on bass, Jeff Hamilton on drums and Krall both singing & playing the piano. The 11 tracks consist of both originals & covers, including 'This Can't Be L ove', 'Straighten Up And Fly Right', 'Between The Devil An d The Deep Blue Sea' and 'I'm Just A Lucky So And So'. De leted in the U.S.! 1993 release. ... Read more

Reviews (32)

Don't miss this great jazz trio:Krall,Clayton&Hamilton!!
I BECAME A DIANA KRALL FAN WHEN I FIRST HEARD HER SING (AND PLAY). SHE IS SUCH A GREAT ADDITION TO JAZZ! THIS HAS REALLY BECOME MY FAVORITE DIANA KRALL ALBUM, IT SEEMS MORE SPONTANEOUS (ie: Jazz!) HANGING OUT WITH JOHN CLAYTON & JEFF HAMILTON AND OF COURSE RAY BROWN -- WOW, WHAT COMPANY! THIS RECORDING IS A PLEASURE TO LISTEN TO AND ENJOY. I HOPE DIANA CONTINUES TO PLAY AND NOT JUST SING; HER CHOPS AS A PLAYER REALLY COME THRU ON THIS CD. GREAT! BUY IT! ADD RICHNESS TO YOUR COLLECTION.

GLENN C...

Rave reviews from a fellow jazz pianist and vocalist
I'd like to add my enthusiastic praise for this album, from one who has been influenced musically by Diana Krall. My group, the Jonathan Feldman Trio, has an album out (Straight Ahead and Blue), and we perform jazz standards and Chicago blues. Since I both play the piano and sing, I naturally turned to Diana Krall for ideas, and I have not been disappointed. I never get tired of listening to this album, and we now perform three selections from Stepping Out in our gigs (including As Long as I Live, the Harold Arlen tune -- I agree with the reviewer from Kalamazoo who mentioned what a great tune this is). The two things that I love most about this album: first, the joy that she and her trio bring to the music. You can tell that she loves the music, and that joy is infectious for the listener. Second, she is a very bluesy piano player (with Oscar Peterson influences), and I find her bluesiness the perfect approach to these selections. In sum, a great CD, and one from which her fellow musicians can really gain inspiration.

classy
Diana Krall is class. You can check out extended clips of her at http://www.vervemusicgroup.com

Fun to go back to the beginning
I found and bought this CD after collecting the subsequent 4 recordings. I thought it was great fun to go back to the beginning. I love the slightly "rough" quality of this CD - I agree it is more playful, the piano tracks have more bounce and with Hamilton/Clayton, they must have had great fun recording this, because that's the quality that comes through. All For You may be my favorite to date however.

All Krall
If you're interested in undiluted Krall and not the Cosmo cover girl, this session is the ticket--her most swinging, inventive, spirited album. Whereas on her subsequent albums, she would keep to "contained" Nat Cole melodic lines and Bill Evans chord voicings, here she reflects some of the exhuberance of Oscar, the rhythmic space of Ahmad, the playfulness of Monk, the funkiness of Silver. Vocally, she covers a greater expressive range as well, though admittedly her tones are often harder, more forced and pinched, than on her later, more popular recordings. But don't be surprised if, 5 or 10 years from now, much of the Krall in evidence here resurfaces. ... Read more

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This document of Bob Fosse's 1966 Broadway production is almost enough to make one forget the dreadful and dated 1968 film version with Shirley MacLaine (who, though brilliant, never rose above the film's concessions to the era--who'll ever forget Sammy Davis Jr.'s "psychedelic" production number on "The Rhythm of Life"?). Ironically, it was the late, great Fosse's film debut. More's the pity he simply didn't just provide a visual document of his original Broadway show; after all, it was Fosse who'd conceived the notion of a musical comedy based on Fellini's 1957 film Nights of Cabiria as a vehicle for Broadway star Gwen Verdon (Mrs. Fosse at the time) and then put writer Neil Simon together with composer Cy Coleman and lyricist Dorothy Fields. Onstage, it simply worked great. The score produced two huge hit standards--"Big Spender" and "If My Friends Could See Me Now"--and proved that fantasies about hookers (even though Charity's called a "taxi dancer" here) with hearts of gold could provide mainstream entertainment years before Julia Roberts became Pretty Woman. Sony gives the rerelease its regular Broadway Masterworks series update treatment, with previously unreleased tracks, elongated songs (featuring material cut from the original album), interviews from opening night, and even compo