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Recorded in conjunction with the 2002 Richard Rodgers centennial celebration, In Love Again is another winning album for Stacey Kent. The songs Rodgers wrote with Lorenz Hart always suit themselves naturally to jazz, so Kent covers nine of them here, including the great standards "Bewitched, Bothered & Bewildered" and "It Never Entered My Mind." There are also three of Rodgers's songs with Oscar Hammerstein II: the easy-swinging opener "Shall We Dance?," "Bali Ha'i," and "It Might as Well Be Spring," the jazziest Rodgers & Hammerstein song (no matter what John Coltrane says). Kent's crack band returns, with guitarist Colin Oxley's sensitive lines recalling Joe Pass's work with Ella Fitzgerald, and Jim Tomlinson supporting his wife on tenor sax and flute. --David Horiuchi ... Read more

Reviews (8)

sex kitten-ish
A recent Washington Post article before Stacey Kent's appearance at Blues Alley said she had an "adult sexuality". I had to find out. Having listened, she has a girlish, kittenish sexuality that come through most all her songs. A kittenish, cat-and-mouse quality.

She has a small voice - she rarely, if ever, sings loud or with much dynamics. She tends to clip the end of her phrases where others might sustain the tone. But the mix is always consistent and pleasant.

The best song here is "Bali Hai", as is stated often in other reviews, but I really like her Bossa Nova arrangement of "It Might as Well be Spring" where husband Jim Tomlinson on Sax sounds like Stan Getz back from the grave and the guitarist comes off a whole lot like the late Charlie Byrd.

Outstanding tribute to Richard Rodgers
American-born but British-based Stacey does it again with this mellow but classy collection of songs composed by Richard Rodgers in collaboration with either with Lorenz Hart or Oscar Hammerstein. The songs are a mix of the famous and the obscure.

Stacey selected two songs each from South Pacific (I'm gonna wash that man right outta my hair, Bali Ha'i) and A Connecticut Yankee (Thou swell, My heart stood still). Other shows represented here, but just by one song each, are The king and I (Shall we dance), Pal Joey (Bewitched bothered and bewildered), Higher and higher (It never entered my mind), State fair (It might as well be Spring), Jupiter (Nobody's heart belongs to me), The boys from Syracuse (This can't be love), Mississippi (It's easy to remember) and The Garrick Gaities (Manhattan).

As a fan of the Great American Songbook, I have heard some of these songs in many different versions, but Stacey always does justice to the songs while interpreting them in her own way.

Stacey is one of the biggest names in British jazz and this album clearly shows why. If you enjoy modern recordings of the Great American Songbook, you'll love Stacey's music.

Smooth and easy listening for a breezy evening...
This was the first Stacey Kent I listened to and I was instantly mesmerised by her smooth and silky vocals backed by subtle and intriguing arrangements.

Picture this:
you're having a small get-together with a few close friends at home. A soft breeze floating through your balcony. The candle light from your living room wavers and casts a warm glow. And Stacey Kent's beautiful rendition of Bali Hai' wafts lightly from your hi-fi as you and your friends sip your Blue Curacao cocktails and chat softly.
You'll be thinking you're on the Pacific Ocean in no time!

For a more balanced compilation though, SK Collection and Collection II are both excellent to listen to.

A lIttle Too Sleepy for Me
For me, Stacey Kent and her band rank high for some wonderful music, but this CD is not her best. In my opinion, it doesn't have enough energy. Out of 13 cuts, I really like three: an, interesting, bossa nova version of "It Might as Well be Spring"; a smokin', swinging "This Can't Be Love" that leaves me wanting five or six more just like it; and an intriguing "Bali Ha'i" that makes me wonder why this Broadway gem does not show up in more jazz sets. The other ten songs, boy, I just can't keep my eyes (or ears) open anymore by the time we hit "Thou Swell" (cut No. 6). But...Stacey is still a favorite and her band is still one of the best I've heard. If your looking for a little more heat, I recommend you try the two fine CDs "Let Yourself Go" and "Tender Trap." If you're looking for music to go with that candlelight dinner, this could be the one you want.

Five aren't enough: Give me six!
Stacey Kent's fifth CD is her best. Backed once more by husband Jim Tomlinson on tenor sax and flute, she has found yet another way to pay tribute to Richard Rodgers and his music. Her new arrangements of Rodgers'tunes are worth adding to your collection.While some compare her voice to that of Joanie Sommers, I think it's more reminiscent of the crisp and kittenish lyrics sung by young Susannah McCorkle.Don't miss Kent and Tomlinson if you have a chance to see them. They make far too few appearances in the U.S., but I was fortunate enough to see them wow a Tucson Jazz Society audience in 2002. My mistake was not buying the British version of this CD from her then. The year-long wait for it to hit regular U.S. marketing channels was agonizing, and I'm already yearning for Stacey's sixth album. ... Read more

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With 20 originals from Louis Jordan's '40s and early '50s heyday at Decca Records, Best Of is the definitive collection of the blues-jazz bandleader-singer's work. Most of the cuts are up-tempo jumpers with lyrics that tell sly tales of the black experience in midcentury: the house-partiers in "Saturday Night Fish Fry" end up in the slam, while the institution of marriage occasions a warning in "Beware."Jordan also dabbled in Latin and Brazilian rhythms on "Run Joe" and "Early in the Morning," and even added a major ballad, "Don't Let the Sun Catch You Cryin'," to the standard repertoire. A major influence on Ray Charles, James Brown, and Chuck Berry, Jordan is a must-hear. --Rickey Wright ... Read more

Reviews (16)

"Jump" for joy!
If you were trying to find the exact midpoint between the swing-jazz era and the rock 'n roll era, this is it. This is one of the kinds of music that made rock 'n roll possible. Jump blues is what it was called, and Louis Jordan - composer, singer, bandleader, saxophonist - was its most successful and important practitioner. As jazz veered into the less commercially appealing bebop style, and delta blues was brought north during the pre and post-World War II northward migration of southern blacks, this hybrid musical form was standard entertainment at nightclubs, particularly but not exclusively those with black audiences, during the late 40s and early 50s. At the time, Billboard called this "race music", yet Jordan had great crossover appeal without "whitening" his style, and had several pop chart-topping million-sellers to his credit. These recordings of Jordan's band, the Tympani Five, date from 1942-1954, but are mostly from the late 40s. They include several boogie-woogie piano-driven tracks (like the very successful "Choo Choo Ch' Boogie"), some non-jump blues ("Nobody Knows You When You're Down and Out") and a few tracks that actually do sound like early rock 'n roll ("Saturday Night Fish Fry"). The band even throws in a calypso number ("Run Joe"). Jordan also created what might be considered the first music videos that served as introductory fare at movie theaters.

Make no mistake, Jordan was more than a musician - he was an entertainer, and specifically, a comedian. There is a strong lacing of humor through almost every song. For example, in "Saturday Night Fish Fry", you will learn of the events that caused him to warn in the last verse "If you ever want to get a fist in your eye, just mention a Saturday night fish fry." In "Beware, Brother, Beware", Jordan gives an appreciative audience of men hilarious advice for the dubious objective of avoiding marriage at all costs: "If she saves your dough and won't go to a show......Beware! If her sister calls you brotha, you better get furtha.....Beware! If she calls on the phone and says 'are you alone', you say 'no I got three girls with me!'" In "Caledonia", Jordan squeals out the last syllable of the lady's name in such a way that you will instantly know this is what inspired Little Richard to squeal "Lucille" a few years later. In "Beans and Cornbread", we learn of a fight that almost breaks up the marriage of these two foods. There's a nice call and response in this song, in "I Want You to Be My Baby", and in "Five Guys Named Moe".

You can't help but love this guy, so buy this CD! The only good reason you could possibly have for not buying it is that you are buying the Boxed Set instead.

Unbelievably Hot
Jump blues is the most criminally overlooked musical style of the 20th Century, and Louis Jordan is unquestionably the master of it. Jump blues is rooted in the blues of the 20s and 30s (as well as swing music of the 30s and 40s), but it's a more uptempo, good-time style--it was the dance music of the 40s for venues where full big bands were impractical. The biggest difference between jump blues and raw, early r&b and rock & roll (both of which evolved a few years later) is that the horn section dominates the sound, not the electric guitar.

Raucous songs like Caldonia, Saturday Night Fish Fry, and Five Guys Named Moe (featuring an incredible sax solo) really capture the energy of the music. Check this out, and then go track down other, even less well-known jump blues artists like Wynonie Harris and Big Joe Turner. After you've heard this music, you simply won't believe that it's dissappeared almost without a trace for half a century.

Jordan--an important and refreshing influence of rock & roll
Sandwiched inbetween the dying days of big band and early rock-and-roll were 1940's R&B singers whose swinging sounds laced with jazz and blues influences provided a transition to what later became rock-and-roll. Roy Brown, Wynonnie Harris, and blues saxophonist and singer Louis Jordan were among these artists, and it's fair to say that because both Bill Haley and Elvis Presley covered their songs and got more attention than they did.

Louis Jordan's heyday was in the 1940's, and his shuffling, swinging "jump" sound combined with his goofy and humorous man-about-town schtick and sax solos. The earliest hit on here is slow "Knock Me A Kiss", was done in 1941.

A full nine years before Bill Haley, Jordan did "Choo Choo Ch'Boogie" with an engaging boogie-woogieing piano and bass. Yes, remember, "Take me right back to the track, jack."
"Let The Good Times Roll" has a sound similar to "Heartbreak Hotel", which means early rock.

The partying "Saturday Night Fish Fry" is one of two songs that go beyond the average 2:30 time. It clocks in 5:20 but its excess length doesn't diminish the song. Hearing "It was rockin'" and the electric guitar there, this would've been a great Haley song.

"Caldonia" was the song that made me realize Jordan's connection to rock and roll, as I learned in my music class. That boogieing sound and Haley style rock just blends here, and the way he shouts "Caldonia" like "CaldoNYAAA" A singsong type monologue is included here, which shows another influence to rock.

"School Days" is basically a series of old nursery rhymes set to a snazzy jazzy beat. I remember those rhymes, e.g. Humpty Dumpty, Little Jack Horner, from the past, and was amused to hear them like this. "Five Guys Named Moe" has a similar sound.

Then there were songs with goofy titles like "Ain't Nobody Here But Us Chickens" of chickens telling the farmer to let them get to sleep because chickens have work to do laying eggs. "Beans and Corn Bread" has some silly lyrics. "Beans and cornbread had a fight/beans knocked corn bread outta sight/cornbread said now that's all right." "Barnyard Boogie" is plain silly piano and sax jazz, with Jordan going "oink oink" "moo moo" at times, and is about the animals boogieing in the barnyard.

Jordan could do city blues as well, as evidenced by "Buzz Me Blues", and the slower-paced "What's The Use Of Getting Sober", and "Somebody Done Changed The Lock On My Door." And with the Calypso Boys, he combined the Caribbean sound in his music in "Run Joe".

Most of his biggest hits are here, although not "GI Jive" or "Is You Or Is You Ain't My Baby." Better get the Five Guys Named Moe album for those songs.

Jordan is unjustly underrated when taking the history of rock and roll into consideration and is an artist requiring more evaluation and examination. His music anticipated rock and roll a decade before "Rock Around The Clock" and small wonder Chuck Berry, B.B. King, and Van Morrison acknowledged his influence.

Essential !!-- The Inventor of Rock and Roll
You can't live without this collection if you like Chuck Berry, Ray Charles, rockabilly, Diana Krall, or any of the current swing stuff.

You just can't!

Louis Jordan essentially invented rock and roll and Chuck Berry acknowledged Jordan's influence on his music. Listen to this disk and you will hear the original versions of classic tunes recorded by the great bluesmen and for the last 50 years! And some tunes recently repoularized by the current latter day swing bands. Asleep at the the Wheel has been doing Jordan tunes as part of their standard repetoire for 25 years. Check ut Early in the Morning for influences on guys like Nat King Cole as Well.

Like many an all time master, Jordan never really received a lot of credit in his day, but there aren't many who have had such a great influence. Check this disk out, you can't go wrong.

Great stuff!
This is an absolutely fun CD. The influence Louis Jordan had on artist that came years later is evident. ... Read more

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Given his seemingly effortless ability at melding such disparate forms as jazz and gospel with his own rare melodic gifts, it's not hard to view George Gershwin as America's first classical crossover artist. But as this glorious, 41-track double-disc introduction to Gershwin's epochal repertoire quickly demonstrates, that assessment woefully shortchanges the sheer grandeur of "Rhapsody in Blue" or the sultry earthiness of "Summertime." Singer and pop musicologist Michael Feinstein produced the set (as well as contributing a new recording of "Home Blues"), and under his guidance it understandably leans toward Gershwin's remarkable body of songcraft, though it also includes more concert-oriented pieces such as the "Rhapsody" and "Prelude No. 2," both in original performances by the composer. But Feinstein's loving sense of American pop song history insures that the performances here are both inspired and enlightening. Indeed, his choices represent not only a who's who of 20th-century pop and saloon singers--spanning a rich pantheon that includes Jolson, Kelly, Astaire, Holliday, Sinatra, Bennett, Waters, Torme, Clooney, Day, Vaughan, and Fitzgerald--but deftly underscore Gershwin's transcendent synthesis of style, era, and distinctly American subject matter. Also includes a written tribute by modern songwriter Diane Warren and an essay by Pulitzer Prize winner Tim Page. -–Jerry McCulley ... Read more

Reviews (2)

's wonderful, 's marvelous
If you have any interest in American music of the early 20th century in general, or George Gershwin in particular, you will not be able to look at the playlist to this remarkable 2-dvd set without salivating. This is a who's who of talent beginning with Gershwin himself (Prelude No. 2 for Piano and Rhapsody in Blue) and continuing on with Fred Astaire, Rosemary Clooney, Gene Kelly, Al Jolson, Doris Day, Aretha Franklin, Billie Holiday, Cab Calloway, Benny Goodman, Frank Sinatra, Harry James, Mel Torme, Miles Davis, Sarah Vaughan and Tony Bennett. The sound quality is surprisingly good and the selection is magnificent, the songs presenting a wonderful and vivid protrait of the American music scene in the early part of the 20th century. (Even though Gershwin died in 1937, singers and bandleaders have been performing his songs ever since.)

The accompanying booklet contains fine essays by music critic Tim Page and composer Diane Warren, as well as liner notes for each of the 41 selections, and a few pictures.

Superb.

Timeless and inspiring
How's this for a first? The first album in the "Essential" series consisting of various artists. Of the 41 tracks on this double-album only two of them were performed by Gershwin himself and one of them , the almost-fourteen minute "Rhapsody In Blue" was partially recorded some forty years after his death. The performers on this compilation read like a who's who of artists inspired by Gershwin's brilliant compositions. Singers like Billie Holiday have two tracks here as well as Tony Bennett, Fred Astaire and Andre Kostelanetz and His Orchestra. Georges Guetary has a song "I'll Build A Stairway To Paradise" which he performed in the 1951 film "An American In Paris". Oscar Levant also performed "Third Movement" in that same film though it had been recorded years earlier. Finally, Michael Feinstein who co-produced this album has a beautifully performed rendition of "Home Blues" which closes the second disc. There's an insightful essay by Tim Page and one by songwriter Diane Warren about the legacy he left behind. Although he passed away on 7/11/37 of a brain tumor at age 38 he left behind a huge body of work that continues to inspire today's musicians. This album can truly attest to that. ... Read more

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Diana Krall, here with her first GRP album, expands on the delights that populated her 1992 debut, Stepping Out. Again, her talents are simply remarkable: she sings with feeling, emotion, and nuance--she invests a lyric with believability--and plays marvelous piano, no matter the tempo. The program pleases on so many levels: slip the disc into the player, hit any track at random, and you'll be moved. Take the oh-so-slow, heartfelt groover "Squeeze Me," on which her alto is both breathy and demonstrative and her accompaniments are sly, and which features a winsome solo by bass maestro Ray Brown. On another gut-wrenching crawler, "All Night Long," Krall tears you up with her emotive, intimate vocal, interspersing her singing with telling, shimmering piano notes, then delivering a solo full of wry confidences. The succulent title track is a deliciously slow bossa where Krall's vocal is partly whispered, as if sung in your ear. More upbeat is the finger-popping "Is You Is or Is You Ain't My Baby," where the artist sings with grit and life then solos with an economical drive. Tenor saxophone giant Stanley Turrentine adds a trademark saucy improvisation. "I Love Being Here with You" is a romping shuffle where Krall's voice hits some notes on the head and stretches others like pulled taffy. "Broadway" is another vibrant outing that includes a singing, fat-noted solo from bassist Christian McBride and Lewis Nash's deft brush work. Aces all around. --Zan Stewart ... Read more

Reviews (24)

You Can Trust Diana
When I first bought Diana Krall's, "Only Trust Your Heart", I gave it one or two listens and then put it away being not too impressed. Then about a year later I saw her in concert where she opened with a tune called "I Love Being Here With You". I couldnt figure out at the concert, where this energetic little opener had come from. It turned out to be on the before mentioned CD. I gave "Only Trust Your Heart a relisten and I realized, what a wonderful jazz album it really is.I think the reason I like "Only Trust Your Heart" is because it sounds so unlike Diana's other albums. Don't get me wrong, I'm a huge fan of Ms.Krall and her other albums.I love that smokey, honey-tinged voice and her wonderful piano stylings. But on this particlar album, rather then her usual sexy whisper, she seems to belt them out with a roar.Also her band seems more at the forefront of the production including a very sassy turn by veteran sax player, Stanley Turentine.There are plenty of song stand outs including "Is You or Is You My Baby" and "I've Got the World On A String."A special mention should be made also for the lovely ballad "Folks Who Live On the Hill." This is a really good jazz CD, that grows on you after a few listens.

A real jazz album
Whatever you may think of Diana's more recent crossover music (which I think is brilliant), this early album demonstrates clearly that her music is rooted in jazz. There is no crossover here - it's pure jazz. Diana sings and plays piano, backed by a small but select band comprising a bass player (sometimes Ray Brown, sometimes Christian McBride), a drummer (Lewis Nash) and a ten saxophonist (Stanley Turrentine).

Like so many of Diana's albums, this one relies heavily on songs from the first half of the twentieth century, beginning with Louis Jordan's classic Is you or is you ain't my baby. Other classic songs featured here include Squeeze me (Duke Ellington) and two songs associated with Peggy Lee (I love being here with you, The folks who live on the hill). The only original is the closing bluesy instrumental, CRS craft.

This is a fine album that will particularly appeal to jazz aficionados. It may even expand the market as fans of Diana's later music learn to appreciate jazz. But some of those fans may not like this - if in doubt, listen to some of it before buying.

WOW !!!! Diana Krall made me do something unusual !!!
What can I say? Diana is making me buy an entire album and this is the first time that I am buying albums as Christmas gifts. I am giving her album and Micheal Duble's self titled album to my closest friends. I send gifts that are high quality and thoughful gifts that I would personally enjoy (Just in case they are sent back). Both albums are kick ***, making this a banner year. All this and QE on Bravo TV! Color me happy!

Stanley and Diana
Oddly, little mention in the customer reviews of Stanley Turrentine's presence on the recording. It's what makes this album different from --and hotter than --any other of Ms. Krall's fabulous work. Example: No doubt about it --Diana and the band supremely cook on the song "I Love Being Here with You" from her latest Paris live recordings. But on this version, Turrentine's tenor sax steers the tune up the onramp and into overdrive. He's jazzy enough to be interesting but stays sane and faithful to the melody. Which matches Diana's musical style, I think. But whether it's Stanley Turrentine, Ray Brown, Christian McBride, Jeff Hamilton, John Clayton, etc., it's testament to Ms. Krall's ability to attract and lead such superb associates. And at such a tender age, though she was no overnight sensation at this point, having played professionally since her teens.

Still, one of my favorites cuts on the CD is saxless: the dreamy "All Night Long." Diana's lilting piano solo and sultriness interpret the plaintive mood of the piece perfectly.

Her three subsequent recordings are maybe a little more softened and refined. That's not at all a bad thing, but I tend to listen more to this CD, its predecessor, "Stepping Out" or the two recent killers "The Look of Love" and "Live in Paris." "Only Trust Your Heart," among all her recordings, is Diana at her most muscular, both vocally and instrumentally. Even on the slower pieces she reaches decibel levels more likely to be heard only in her concerts. Maybe it's Turrentine's influence. In any case, it's just nice to hear Diana prove that she can belt 'em out.

So this is where it all started....
...and you can tell she had some work to do on her lyrics, but regardless, there are some great tracks on here worth checking out if you're a Diana fan:

is you is...
only trust your heart
broadway
squeeze me
all night long

they're soft songs perfect for the winter months and curling up next to a fire and listening to....no "smooth" jazz here, just nice sounds and soft piano. ... Read more

Reviews (6)

The best so far!!
We have enjoyed all Diana Krall's CD's and just purchased the Super Audio for our new CD player and wow....she was in our room playing. The new material is made just for her and it shows off her style.

Diana, a great musician. Making a bad turn?
Don't be misguided by my rating of this album. I encourage you to purchase EVERY album that Diana has ever made. I am a big fan of Diana Krall. Case in point- I traveled from the Cayman Islands via Australia, to see her perform in Toronto, Canada. (Check that out on your maps!) BUT... in my NOT so humble opinion, I feel that Diana would do better to make music with Joni Mitchell or the sort. Joni Mitchell good for Diana...Elvis Costello, well, we'll wait and see. I can only hope that this album is not a sign of what is in store for Diana and her music. I submit the following evidence- Listen to "A Case of You" from her album entitled "Live In Paris" Now listen to any of the 7 songs on this album that Elvis has credit to.- No Elvis, I DON"T THINK SO! Mind you, this is not to be mistaken as a bad review on Elvis' music. I'll eat Ice-cream or Caviar.-Just not together.

Great on Super Audio Player
Diana can sing and play the standards but this original music is made just for her...a must have!!!

The Best Of Diana Krall; Her Own Words, Music, And Feelings!
Diana Krall's latest musical work is a wonderful example of how when properly motivated and nurtured, i.e. (Elvis Costello), an artist of Diana's superior talent can explore her musical depths and emerge with a new and fresh understanding of her own musical capabilities and desires, as well as exposing her audience to new material that is truly unique and may very well be called standards sometime in the not so distant future.

With several previous efforts covering the great standards of the past to her credit, Diana along with husband/collaborator Elvis Costello seem absolutely determined to create new and interesting music. With "The Girl In The Other Room", Diana has put forth a very original and musically inventive album, which makes the listener sit-up straight and really pay attention to the musical nuances that are displayed through her vocal interpretations and her tasty playing. Sure, not every original song on this album will be remembered, but even if we get only one great new song that can stand the test of time, then Diana will have accomplished something that has eluded countless others. Only time will tell, but I like the direction that she is headed in.

Not unlike many great artists, Diana's attempt at redefining and expanding her musical horizons has met with less than enthusiastic support. It is this process of stretching and growing, trial and error by an artist, which allows them to create something truly original, and ultimately carves out their place on the long list of true musical greats. I feel that in the long run, music fans everywhere will be very glad that Diana Krall had the vision and talent to expand her own boundaries and share with us listeners her own words, music, and feelings!

I recently discovered a new contemporary crooner named Monte Procopio that I also really enjoy. He sings with a genuine passion for the music and his new CD, "Monte Procopio "Swingin' With Style" features a 13 piece band that really swings and deserves a listen. Buy both these CDs, you can't go wrong!

Audiophile Heaven on Earth.
First of all, although I was a bit hedgy about it at first, "The Girl in the Other Room" is a totally GREAT CD (see my review of the simpler enhanced version). The more I listen to it, the more I've become addicted to it. Aside from the late, great Peggy Lee, no other singer comes to mind who combines coolness with warmth, mystery with frankness, glamour with earthiness, and subtlety with thoroughness. Diana, you give me heart palpitations, and that's a compliment!

Since I was totally impressed by the mixing and mastering on the regular edition, I couldn't wait to get my hands on the Super Audio version. Truthfully, the awesome sound detail on the Super Audio CD is SO impressive, it is almost difficult for my human ears to drink it all in. There's a LOT going on from five different speakers and a woofer, all blended beautifully. The most striking feature about the SACD is a longer, slightly different version of the opening song "Stop This World", so if you're a Diana fan, believe me, this is an absolute must-have! And if you don't have a 5.1 system, what the heck are you waiting for? For audiophiles, it is worth EVERY penny. I highly recommend Sony's 5.1 CD/DVD audio. ... Read more

Reviews (14)

Amazing and masterfull
If you are not familiar with Pablo Neruda poetry this album will send you to the books section for a book of his poems.
If you don't know who Federico Monpou is this album will have you search for a recording of his "Song and Dances" masterpiece.
If you don't know who Luciana Souza is this album will introduce you to a great singer/musician/composer.
All the poems in the CD, with the music of Mompou and Souza translate into songs that tell stories of beauty and love.
Finally the pianist Ed Simon shines all over

A musician among singers
Among so many vocalists today, Ms. Souza stands out for a multitude of reasons. From her beautiful and mature voice, to her outstanding choice of material for each one of her records, she stands head and shoulders above those artists which jazz writers and critics tend to write about endlessly for whatever reason.

Reinterpreting the work of Neruda, such a popular and visible poet had all the makings of a train wreck. But she pulls off the feat brilliantly, using her own compositions and the music of Federico Monpou to support Neruda words. Ed Simon's piano playing is great, and on two occasions on the record, Souza accompanies herself with jawdropping authority on udu and kalimba. This record is accessible as it is complex. I recommend it highly.

On Neruda, Lucuiana raises the bar for all those who wish to consider themselves jazz vocalists, or any derivation thereof. She's a musician and an artist with a complete command of the language of beauty.

Pablo Neruda en INGLES
If you speak Spanish, you will be dismayed to hear how bland and shapeless his poems sound in English. Speaking of bland, the singing and music hear is dullsville. With so many great Brazilian singers, why not listen to some old Joao Gilberto, or Joao's daughter Bebel, or Marisa Monte or Caetano Veloso. If you want the poetry of Neruda, try reading it. This is a terrible combination of music and poetry.

Soulful, relaxing, clearly beautiful...
It does seem that some people have a negative agenda because Souza chose to work with the poetry of Neruda. I own about 25 or so books of Neruda's poetry, so I don't have to say anything about what I think of his work, but it seems the "purist English geeks" have an issue with this production... My best guess -- from reading Neruda's memoirs and other stories about him -- is that Pablo would love it... as I do.
And if you've never heard Neruda's work, Luciana Souza's interpretations are heavenly. Well work every penny!

Great 'art song/jazz'
Absolutely stunning, wonderful album IMO. I'm not always crazy about LS, but this one is a perfect balance between her voice,
Edward Simon's incisive piano and the magical words by Neruda-- even in translation. Only comparison to Norah Jones I see is that
there's an emphasis on quiet-- but NERUDA is at a whole different,better level I think. One of the great 'art song jazz' albums-- and I also like the incorporation of a few Mompou
melodies-- just the right nostalgic, 'simplified' Chopin touch.
So far in '04, my favorite album of the year in any genre. ... Read more

Album Description

The tracks included represent the entire spectrum ofSimone's broad assortment of material and styles from solopiano to soul numbers, show tunes to live recordings. Among the highlights are 'See Line Woman', 'I Want A Little Sugar In My Bowl', 'Young, Gifted and Black', 'The Thrill IsGone' and Gin House Blues'. 37 tracks spanning 2 CDs fromTomato Music Works. 2002. ... Read more

Reviews (53)

I Love Jazz 2000
I Love Jazz is a sampler that comes out every so often that tries to take the biggest jazz hits of its time and put them onto a single disc. This is kind of like that in a much larger and ambitious scope. Even at five discs, it still feels like a sampler! While I enjoyed this set immensely, I still have the feeling that something is missing.

Louis Armstrong and Duke Ellington are well represented here, as they should be. It is a joy to listen to music I wasn't as familiar with such as Coleman Hawkins and many of the earlier cuts. The sound quality is pretty good, especially for recordings of the earlier eras.

After listening to this, I felt that the history of jazz ended at about 1970, when obviously it did not. Fusion, Latin, Cool, and Avant Garde did not receive enough attention. Probably due to contractual restrictions, some artists only receive either a mention or are missing entirely. Only one track for Art Tatum, Mingus, Weather Report, and Stan Getz, ECM artists missing entirely, no John McLaughlin (as leader), McCoy Tyner, Bill Evans (as leader), or Art Blakey (although he does get his own disc in this series).

Every jazz afficionado will have their own ideas of what should be on here. This set serves a great purpose in showing how jazz and history affected each other and a glimpse of the talented artists behind the music. This set is a generous sampling of a great and wonderful iceberg and should be used as a springboard for a lifetime of exploration into jazz. At least the likes of Kenny G, Dave Koz, and John Tesh are nowhere to be found on this set.

A very fine introduction to jazz
The box set is rather like the documentary film: toploaded with dixieland-swing-bop, then a futile effort to cram all the postbop period into too little space. If anyone tried to sum up the history of rock n' roll in 5 CDs, imagine him cramming everything since the Summer of Love onto the last disc. If the Doors and Pink Floyd got left out of such a set, or a label like Atlantic was virtually overlooked, people would be upset then, too. It's not snobby to complain that Bill Evans or a Rahsaan Roland Kirk are left out here, or that Burns practically ignored Blue Note Records in his history. Stakes are high here. It's important that certain figures are not forgotten in the history just because Ken Burns could not find space for them in his canon.

However, despite the limitations of the project, this box is still a darn good introduction to jazz music. The selections might have been broader if pre-bebop had its own 3-CD set, and postbop had its own 4-CD set; but, this way, someone who is beginning to get into the music might get a better picture of the total continuity running from early New Orleans through some of the postbop movements. When I was starting out, I had to piece things together from odd records found at the library, until I got to college and could take a Jazz History class. If this sort of set had been presented to me at the start, I would have been in heaven.

If you're just getting interested in jazz, buy the set. Read the notes, take note of the names of sidemen (who may have led great sessions of their own, not represented here), pick up an album guide or two, check out some musicians who aren't in this set, join the conversations on jazz bulletin boards, and, most of all, enjoy the music. Once you jump in, there's no end to the worlds you might discover in jazz.

Too much, too little
Contrary to what some reviewers have stated, this is not a good place for someone wanting to get into jazz. This is mainly because this set costs too much for that. Also, there's over-whelmingly too much Louis Armstrong, Duke Ellington, Billie Holiday and Dizzie Gillespie tracks here and little else. You would think that with a 5 disc box set, that Ken Burns could have come up with even little known but great jazz artists to include in this collection aside from adding a few more of the wider known ones as well. I am not a "jazz snob" and I feel it's unfair to some of the newer, more contemporary artists to be ignored as well - the rock equivalent of that would be refusing to acknowledge the talent of Jack White simply because he doesn't play like Clapton or Hendrix.

A terrific value
The fact that this box set has so much music for the price makes this collection a must-have for beginners or makes for great driving music to keep in your car. Forget about how you felt about the documentary, just look at this collection of great jazz and ask yourself, "How many better anthologies are out there that aren't twice the price?"

I understand those who feel that there were too many omissions, but face it: jazz has been around for 100 years (or so). Mr. Burns would have required 10 disks, with each disk representing a decade of jazz. Once again, look over the playlist, look at the price, and realize what a value this is.

It smells a little funny here
There is a lot of great music/artists here, but a lot of great music is missing and a lot of artists are too heavily favored.
I don't like it when a group of writers try to shape the minds of a unknowing public. I think Kenny should stay away from the ARTS and stick with war and sports. ... Read more

Amazon.com

Tony Bennett has a typical lack of effusiveness about the kudos of his seven-decade career, but he does reportedly display an inscribed picture from a longtime colleague and fellow saloon singer in his Manhattan apartment. It reads: "To the best goddamned pop singer I've ever heard." It's signed "Frank Sinatra." But don't take the Chairman's word for it. Just listen as these two discs bound from one masterly performance to the next, documenting a career whose ups and downs--Bennett actually went long years without a record contract--belie a robust evolution of vocal strength and subtlety of phrasing. The arc of Bennett's art in the decade from "Cold Cold Heart" and "Rags to Riches" to "The Best Is Yet To Come" and his signature "I Left My Heart in San Francisco" is remarkable enough, but it just keeps getting better. When the singer's management shrewdly orchestrated his MTV-powered "comeback" in the late 1980s and '90s, Bennett delivered considerably more than mere hype. Indeed, the highlights of those efforts (a warm, semi-autobiographical collection of ballads; tributes to Sinatra, Astaire, Ellington, and the blues; the obligatory MTV Unplugged set) included here barely skim the surface and arguably warrant a double-disc collection all their own. Still, the 39 tracks here represent the best kind of anthology: one that leaves you craving more. --Jerry McCulley ... Read more

Reviews (8)

C'mon kids, try something new, er, maybe old......
He's "the best goddamned pop singer I've ever heard" too, and I'm in my early thirties. This is great music.

i wanna be around
when i was a little kid, dad brought home a 78 record of tony singing "stranger in paradise" (which as i understand it, the melody is from rocmoninoff (sp) it was his favorite. tony was a staple in our home. as i grow older, well, it seemed he was talking to me. after being "dumped", there was the perfect "i wanna be around", and who amoung us men wouldn't like to be there when your ex lover gets what you got. (not really enought of those kinds of songs around) and the reason i bought this title "when joanna loved me" (just put in the woman's you loved once)....if your not moved by this one......buy this one, you need to....

5 Stars, Plus!
Having been Tony Bennett fans since were "kids" (for over 50 years), my husband and I agree that this is a great representation of Tony's musical career. Also, what a wonderful experience it is to hear excerpts from this album played on radio. Not only does this compilation please & delight the long-time fans, but it also introduces the younger generation to what good music really means. The tone & timbre of his voice, selection of the best tunes and superb delivery make this man a legend and an American Treasure.

Another anthology???
I am a huge Tony Bennett fan. I especially like his jazz albums and backup groups. Pianist Ralph Sharon so often sets the tone, I cannot imagine Tony without him. There are so many Greatest Hits anthologies out there. Columbia first issued the superb "Jazz" compilation, and the "Forty Years" 4-CD collection. All other anthologies are pointless, especially since his newer material is still widely available. Next, in rapid succession, have come "The Ultimate" and now "The Essential", replicating many tracks. Some of Tony's best albums have yet to be released in their entirety. What about "When Lights are Low," named by biographer Will Friedwald as one of the best jazz vocal albums ever recorded, and "My Heart Sings?" I did manage to find on EBay a Japanese version of "Tony Sings for Two," a duet with Sharon. This superb album has yet to be released stateside. We've only heard bits and pieces on compilation albums.

Come on, Columbia! Why hold out on us?

A Staggering Singer
Growing up in the 60s, Sinatra and Bennett were the kings of sophisticated pop songs with Mathis and Andy Williams nipping at their heels. Sinatra was the most emotional. Mathis and Williams always seemed to be skimming the surface, and for much of the time, so did Tony Bennett. But of the group, he was the best singer, and Frank Sinatra acknowledged that in a personally signed photo he gave Bennett. Growing up in San Francisco, his monster hit--I LEFT MY HEART IN SAN FRANCISCO--was played in practically every saloon in town and it still is. LOVE LOOK AWAY, RAGS TO RICHES, BOULEVARD OF BROKEN DREAMS, BECAUSE OF YOU, FLY ME TO THE MOON, THE BEST IS YET TO COME, FOR ONCE IN MY LIFE(Bennett's effortless top G always tore my own larynx to shreds attempting to imitate him), are bonafide classics. While I always admired the beautiful timbre, the range, and the sheer showbiz pizzaz of his delivery, much of his work was superficial. Or so it seemed.

But this new ESSENTIAL TONY BENNETT has some gems I ignored. Anyone who wants to question Bennett's skills as an intepreter should listen to his performances here of IT AMAZES ME and most importantly, I DO NOT KNOW A DAY I DID NOT LOVE YOU. This Richard Rodgers gem was new to me, and it just knocked me out. I had to play the song four times in a row. Bennett sings both with depth and a world-weary sense of inevitability. Here you'll find outstanding examples of his extraordinary breath control (only Streisand is his equal here). His tuning on the latter song is utterly impeccable and his legato exemplary. But this is only the tip of the iceberg. Two CDs are crammed with great cuts and if you listen really carefully, you'll be staggered too.

Like Sinatra I came to appreciate Bennett's skills a bit late in the day. Bennett spent a lot of years without a recording contract and much of the 70s and 80s he was forgotten. When he was finally rediscovered in the 90s, I took notice. Columbia seems to be creating a series here. I passed on THE ESSENTIAL BARBRA STREISAND because the material is readily available on a number of other sources, but the convenience and the selection are the thing here and THE ESSENTIAL TONY BENNETT is on that same excellent level. More please. ... Read more

Amazon.com

While Sinatra,Martin, and the Rat Pack were busy sacrificing a good measure of their vocal talents in the sordid business of fame and fortune,Tony Bennett was quietly, stubbornly, burnishing his vocal gifts into High, if seemingly effortless, Art. How good is Bennett? Just ask the Chairman of the Board and Head Rat: "The best goddamned pop singer I've ever heard." While a single disc can't offer much more than a sketchy outline of Bennett's rich, seven-decade career, this one offers the commercial peaks--and some telling hints at the restless artistic instinct that produced them. From the pure, nearly operatic power and perfect vibrato he displays on early hits such as "Rags to Riches," "Stranger in Paradise" and the overly theatrical, borderline kitsch of "Boulevard of Broken Dreams" through his signature "I Left My Heart in San Francisco" to his gratifying if unlikely '90s resurgence, you can literally hear Bennett's voice tempering like the wood of a Stradivarius, his phrasing taking on a deceptively loose, jazz-fueled languor that tells you where his musical heart really lies. The singer, not the song; damn straight advice--take it from a master. -Jerry McCulley ... Read more

Reviews (11)

Heavy on the 50's & 60's...
With 14 songs from the 50's & 60's and 6 from the 80's and 90's, This CD is heavily weighted in favor of Tony Bennet's earlier commercial hits. According to the liner notes, Tony himself carefully handpicked these songs, so if you don't like the selection you'll have to talk to the singer about it.

However you look at it, this is undeniably the essential Tony Bennett hits over some 40 years. Many of them were produced by Mitch Miller. And many come from the classic compsers such as Julie Styne, Cole Porter, Jonny Mercer, Duke Ellington, Irving Berlin and such.

This is basically 50's and 60's nostalgia with a nod at Tony's more recent work, and so is obviously for those who prefer the older and most familiar music. And for those listeners, it's definite four star material.

The best compilation by the best singer in the business!
Tony Bennett is a singer's singer. This CD is the best compilation disc of greatest hits he's ever put together. It covers his entire career from early hits like Rags To Riches thru "San Francisco", I Wanna Be Around, Just In Time and the heartbreaking When Joanna Left Me, one of the most beautiful songs ever recorded. There are excellent liner notes, dates etc. and the sound is clean and exquisite. There are 20 cuts, and every one is a jewel. Tony Bennett is the Rolls Royce of singers. If you're lacking room and can only make room for one Bennett CD, this is the logical choice. Buy It! It will be one of the best CD purchases in your life.

This is Croonin'
With the delivery of some of his biggest hits on Columbia, Tony holds his own and then some with croonin' songs. He sings them as if he wrote them which of course he didn't. The only dud on this collection of 20 songs is 'Blue Velvet' which should have been left to Bobby Vinton. I believe Tony left Columbia because they forced him to record material he didn't like. Maybe Blue Velvet was one of them?? Of course San Francisco is on this set plus Rags to Riches, Because of You, etc etc.
Great album to have in your collection.

Terrific collection of Tony's most memorable songs!!!!!!!!!!
Tony Bennett is like an excellent bottle of scotch just waiting to be opened. All of the great crooners (Nat, Bing, Frank, Dino, and Perry) are all gone now. Tony is all that is left from the Your Hit Parade era. This is the definative album where Tony has selected the songs that he cherishes. My children (ages 12 and 16) just love this guy. Nearly every song is memorable although I would have added a few more, such as "Firefly", "Once Upon a Time", "Rules of the Road", as well as some cuts from his now-famous MTV concert, just to name a few. Keep up the GREAT WORK Tony!!!!!! We LOVE you!!!!!!

The Finest
I am just getting into this singer, but I feel that his approach to singing a song is so unique. When he sings, "The Best Is Yet To Come", he puts his signature on it. One of his best songs on there is "The Shadow of Your Smile". I mean he take his time with it, and Jimmy Rowles on the piano along with the orchestra gives it what it needs to stand out.One of the best versions I ever heard. "Put On A Happy Face", "When Joanna loves me","Rags to Riches", "Just In Time", and "The Good Life" are some more favorites. A fine CD by a fine gentleman. ... Read more

Amazon.com essential recording

Nina Simone recorded for Columbia Pictures adjunct Colpix records from 1959 through 1964, cutting 10 records for the imprint. Five of her Colpix records were concert recordings, a setting that suits her idiosyncrasies while protecting her from overproduction, and one she's returned to frequently. At the Village Gate captures a particularly intimate 1961 performance and stands as the cream of her live collections. Backed by a trio that includes her favorite sideman, guitarist Al Shackman, Simone ranges from the yearning "He Was Too Good to Me" to a sprightly eight-minute-plus version of "Bye Bye Blackbird" that displays her underrated keyboard skills. This is the kind of album that ages like a fine merlot. --Steven Stolder ... Read more

Reviews (3)

The Incomparable Nina Makes Pure Magic!
In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded. This is by far my favorite collection of Ms. Simone's music.

I can't really categorize Nina's sound or her music and call her "just" a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in "Just In Time." She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like "Bye Bye Blackbird," the complexity of her piano comes through loud and clear. Her folk songs, like the biting "House Of The Rising Sun," and "Zungo" an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., "Children Go Where I Send You," can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, "Brown Baby," and an actress, capable of an extraordinary range of emotions.

Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.

"Hear for yourself," said Nina.
I recently read her autobiography, and in reference to this concert at the Village Gate, Nina Simone stated that she owned the crowd that night, and if you don't believe it you can buy the album and hear for yourself. Ms. Simone does not exaggerate: she gave an incredible performance that night.

The album starts with a jazzy standard "Just In Time", then goes onto a ballad. Already having snapped your fingers and bopped your head, then stared wistfully, meaningfully into space while the ballad works its magic, you shift into blues with her breathtaking rendition of "House of the Rising Sun" which she released before the Animals had the hit.

One thing that's great about this album is that it really showcases her skills as a classically trained concert pianist. Though most people, sadly, know her as a vocalist and stylist, she's playing the piano when you hear one in her songs because she never intended to do popular music, but there had not yet been a black woman concert pianist and despite her best efforts and prodigious talent, she did not succeed in being the first. The fourth track on the album is a nice lift from the second and third, more somber tracks.

"Brown Baby" returns to the eerie and hopeful ballad territory. Though she became known for her protest music later in her career, at the time of this recording Nina was still doing a variety of styles. To hear the emotion and strength of conviction in this song is to understand how anyone develops the strength to fight passionately for justice, and to taste the salty tears of rage.

"Zungo" is upbeat and yet another style. Then "If He Changed My Name" turns toward the reflective strength of the spirit, a sparse arrangement with haunting vocals. And "Children Go Where I send You" brings the house down. "You ever been to a revival meeting...? Well, you're in one right now."

I own dozens of Nina Simone albums and have been a fan for years. Until I heard this one, though, I could not appreciate fully the range of her talent from the early days of her career. As much as I love some of her other albums, this would be the one I'd have to take with me to a remote island. No fan should be without this album. And nobody who's reading this should leave the page without giving it a try: it's dang good.

Nina Weaves Her Spell and You're in 1961
This CD is not to be missed. Don't be put off by the low song count (8), each song easily tops 5-6 minutes (some clock in at 8 mins)and what's missing in quantity is made up for in quality. The intimacy of Nina's appearance here is captured as she sheds new light on well-worn Broadway standards and unknown songs alike. Her voice was also a bit lighter than it became later on so she hits some high notes easily. As usual her piano-playing is great and she's backed by great sidemen but they never get in the way of her singing. Plop this CD in the player and suddenly you are sitting in the audience watching and listening to Nina in New York's Village, 1961. That's how intimate this CD is. ... Read more

Reviews (3)

" Masterful ... "
One of the finest, most sophisticated, and artistic [collection of] jazz-music cuts ever put together. Impressive !
(I listen to most types of music, not just jazz).

Don't Leave the Planet Without It
I once heard Oscar Petersen affirm that "there are only two kinds of music: good and bad." Within the broad musical forms that encompass the genre of jazz, Brubeck consistently managed to play superb music. Contained on Essential Dave Brubeck, are selections that, taken together, provide a representative sample of the remarkable ensembles that played under the Brubeck name. Brubeck was "global" before it was fashionable. Le Souk, the Brandenburg Gate and even Take Five and Blue Rhonda incorporate international time signatures and stylistic modes that demonstrate Brubeck's attempt to assimilate an Asian influence into the African-American jazz art form. It's also great to hear again Take the A train, especially given Duke Ellington's profound influence of Mr. Brubeck. This is an oustanding selection of music from a consistently gifted ensemble. For fans of Brubeck, Desmond, Morello, Dodge -- both old and new -- Essential Dave Brubeck is an solid introduction to what Mr. Petersen would doubtless classify as "good" music.

The Definitive Overview
Here is the perfect introduction to one of the greatest jazz artists of all time. Not as expanded as the box set "Time Signatures" or as condensed as "Greatest Hits", the tracks in this collection span five decades (two of them with Sony) and over twenty studio albums. The first nine tracks are mono. Brubeck didn't just make great music, he experimented and invented new concepts. His biggest innovation of course was coming up with odd time signatures. For example, "Unsquare Dance" is in 7/4 and "Blue Rondo A La Turk" is 9/8. He was also a great interpreter as he does his own versions of "Maria" from West Side Story and "Someday My Prince Will Come" from Snow White. There are also guest vocalists such as Tony Bennett, Carmen McRae, Jimmy Rushing, and Louis Armstrong with a track each. As you'll hear (and read) on this collection, Brubeck also enjoys playing in front of a live audience. About half of the album are live tracks but they sound terrific. On most of the tracks he is augmented by other musicians but there are some in which he plays solo. The collection begins with "Indiana" recorded in '49 and ends with "Love For Sale" from '02 written by Cole Porter and performed live. There's also a track called "Audrey", as in Hepburn.

Dave Brubeck didn't just make great music, he shaped it so that a whole new generation of music lovers could appreciate and find it sounding as fresh now as it was decades ago. If you're discovering him for the first time then start here, you won't regret it. Actually get this double album anyway, it's a great listen either way. Liner notes are by Joel Lewis. ... Read more

Reviews (5)

She's a nut--but a colorful, genuine nut
Nellie McKay(the M.C .on the DVD pronounces it "Mc-eye")has an unplaceable accent, a faraway glint in her scheming eyes, and a tart sense of humor that catches you totally unawares. She's an honest-to-God original, and a breath of fresh air in these calculated-pop times. Her music careens between different inspirations, and she's juggles them all like a pro. My favorites are the whimsical "David", the plaintive "Really", the humorous/serious "I Wanna Get Married" and the comical "Clonie". "Married" really epitomizes McKay--sardonic, rueful, but wistful and longing. You can hear the yearning in her voice even as she spouts scattershot poetry. The DVD is a wonderful(but brief)concert in San Francisco, and her in-between patter is constantly surprising. You never know where she's gonna take you.

My CAT died and I quickly poured myself some gin
Just an example of the lyrics that nellie comes up with.Great songwriter!This cd is unique, fun, and catchy!I originally heard her on the late night show and I went out and bought the cd the next day.Great cd!!a must buy if you like unique lyrics and music!

Nellie McKay is a natural songwriter
in the vein of our best and most cherished pop stars. She is a poet who refuses to not be feminine and yet she has mastered the art of the sly one two punch as well as any man. We should consider ourselves lucky to be alive on the planet at the same time as this remarkable woman artist. She's only at the beginning of her career, and she is going to get even better as she goes. Nellie is beautiful and bawdy at the same time. She has a great since of humor and a great big heart full of compassion to go with it. All those nasty people who email her those little hate notes are so obviously jealous of her talents and determination. They hate that she's young. They hate that she didn't finish school. They hate that she's full of herself. You need your ego if you're going to survive in this business. She would have made a great young Beatle. Maybe she'll be in a band later on in her career. Right now we've got this rocket of a record start to enjoy. Great songwriting, piano playing, worldweary yet brave view and truly talented, absolutely beautiful girl/woman taking on the whole world, song by song by song. Man. that's cool!xbs

Even more from the great Nellie McKay
Congratulations if you're here on this page, and you're reading about Nellie - she is worth your attention.If you've never heard her songs before, spend the extra few bucks and get this dual disc.It showcases what is perhaps her greatest strength - her ability to dazzle and charm (and educate) a live audience, with all the humble confidence she can muster.Although the live show is all too short, you can't imagine how talented this person is until you watch her play the piano like someone who's got more years of experience than she has years.And I say this as a pianist - and a very humbled fan of Nellie McKay.(Why humbled?Here's a direct quote of credits from the jacket of this album: "All Vocals, Piano, Organ, Recorder, Vibes, Chimes, Glockenspiel, Xylophone, Synthesizer, Additional Percussion: Nellie McKay.")And oh, by the way, she's 21.

This is one of the best albums to come along in years.Do yourself a favor and find out why people like me are spending the time to write 5-star reviews.

a great album in a great format
First, thoughts on the DualDisc format: it's pretty cool.My car's CD player won't play the CD, which is a bummer, but all my other players spin it fine, so it's not that big a bummer.As for the DVD side of the disc, well, the highlight is the 5.1 surround mix of the album itself.The sound is fantastic.The bonuses are: a very good (but brief -- only 26 minutes) concert film, including two new songs; and two studio recordings from the period between the release of the album and the fall '04 presidential election.Both of those last two songs are great, and deal with politics in a totally un-heavy-handed manner.At the same time, it's clear that McKay is dissatisfied with the current administration, as well as the choices we had to replace it.

Now, the album.Well, it's awesome.McKay (it's pronounced "Mick-Kigh," apparently, by the way) is obviously a talented woman, and the talent sometimes threatens to get out of her control.But it never does, even on a track like "Sari," a hip-hop track that really ought not to work but totally does.Every song is good, but my particular favorites are "Ding Dong" (the catchiest song about suicide ever written), "Change the World," "Manhattan Avenue," and the hilarious "Clonie," in which McKay's lyrical wit is at its keenest.

I liked this album an awful lot when I bought it in the spring of 2004; now, a year later, it's even better.It's one of those albums that doesn't give over all its secrets at once.It rewards attention.There aren't too many artists who do that, and there are NONE who do it in so many ways.By turns funny, yearning, subversive, cynical, and sincere, this is a seriously good piece of work, and if the next one comes out tomorrow, then it isn't a moment too soon. ... Read more

Album Description

Debut single from the native New Yorker's Blue Note debutthat has none gone 2 x Platinum in the US alone! Nominatedfor Best New Song at the 2003 Grammy Awards ceremony. Thealbum version is b/w two non-LP tracks, 'Lonestar' &'Peace', both of which originally appeared on her highlycollectable debut EP, 'First Sessions' which is longdeleted! 2002. ... Read more

Reviews (17)

Great CD **SINGLE** from an interesting artist!
I concur with the person who also is annoyed with reviews complaining about this CD only containing 3 tracks. It is a single. Only a fool wouldn't read an item's description without buying it. As it is, this single will be a collectible one day when it is long out of print, because Norah is a legend-in-the-making. Her voice melts my heart. If you want a soothing CD to calm your nerves and, if needed, lull you to sleep, and without depressing lyrics, but rather uplifting lyrics, then, Norah makes for an excellent alternative to Enya. (Not to suggest that she's the same kind of artist-absolutely not.) The title track of this single is no exception. It is brief yet simple. And beautiful. LONESTAR is also pretty good, but not one of the best lifted from the album. PEACE is the real treat here, however. It is lifted from her first release, the FIRST SESSIONS EP, which is long deleted. So now it's only available here, and it is a serene, quiet track, acapella-esque in its simplicity. Norah's vocals really draw a picture here, and this song will definitely do what you might very well expect you to do-it will make you feel at peace. PEACE is enough reason to get this *SINGLE* because it's only available here. So, all you Norah fans, click that ADD TO CART button. You will not regret it. You will get a Norah collectable and a great new track.

Peaceful smooth song
Norah Jones portrays her music talents brilliantly on these three tracks. "Don't Know Why" is a wonderful song for all audiences. Its smoothness and peacefulness will spice up a night out with that special someone. It may be a great headache soother. "Lonestar" showcases her heart and soul that one can easily relate. "Peace" proves that she excells in jazz, something few pop performers perfected.

Some may debate if these tracks are pop or jazz. Either way, she has a unique and real sound. Her piano performances are as soulful as her quiet voice. Those who like this ensemble will love her CD "Come Away With Me". "Peace" isn't included. Her talents prove that she deserved her five Grammy wins, including Record of the Year for "Don't Know Why".

Only Two Years Old - Already A Classic
There aren't many musicians who can release a debut album and go on to become of the biggest superstars of the past decade within the space of a year. Norah Jones is clearly an exception to the rule. Her debut album "Come Away With Me" was released in the spring of 2002 and went no where for about a year. Few critics even knew it was on shelves and only a handful of music industry insiders knew her name. This all changed when the hype began to build and in February 2003, Norah Jones picked up a staggering 8 Grammy awards for the album - a record for a female artist. Suddenly Norah was big news and the album gradually ascended to the No.1 spot all over the world; suddenly jazz was cool; suddenly America had a new idol; suddenly, people began to wonder how such a young lady could make such simple music and break all the records and rules...

The album has since topped the charts in both the US and UK and just been certified for US sales of 9 million copies. Worldwide sales stand at 18 million and despite this success, Norah has many critics. Some can't believe her international fame and believe her as nothing more than a jazz/country wannabe with hardly anything to show for it. How wrong they are! Norah's voice is amazingly powerful and extremely soulful. She's chilled out and cool and people can listen to her music easily which is why she appeals to a phenomenally vast market. She also happens to be stunning in appearance, and that always helps! Come Away With Me is now a classic in modern music, a landmark of the times and is still going strong selling hundreds of thousands of copies around the world, with no signs of slowing down!

The first single that was taken from Come Away With was the fantastic "Don't Know Why." As far as first singles go, this one is truly a masterpiece in modern day chill-out! A relaxing beat and a melodically marvellous piano introduces the song and makes way for Norah's distinctive vocals. She breaks the song up with her seductive and throaty voice when she sings, "I waited 'til I saw the sun. I don't know why I didn't come. I left you by the house of fun. I don't know why I didn't come. I don't know why I didn't come. When I saw the break of day. I wish that I could fly away. Instead of kneeling in the sand. Catching tear drops in my hand." Those lyrics right there are just amazing. They may not be ground-breaking, but they are utterly visual and serene in their simplicity and the music just adds to this. Norah then sings the bridge, "My heart is drenched in wine. But you'll be on my mind forever," before moving into the second verse, "Out across the endless sea. I would die in ecstasy. But I'll be a bag of bones. Driving down the road alone."

The song then has a brilliant instrumental section that makes for one of the most beautiful moments not only on this song, but on the entire album of which this song is taken. Norah then moves into the bridge again before singing the closing parts of the song. She sings, "Something has to make you run. I don't know why I didn't come. I feel as empty as a drum. I don't know why I didn't come. I don't know why I didn't come. I don't know why I didn't come." The song then closes as the old instruments fade out and Norah leaves you begging for more.

The first time I saw the video to Don't Know Why was a very special moment. It was simple and relaxing. It matched the song's mood. It made me feel welcome and it made me feel like home, which is just what Norah highlights on her second album, 2004's "Feels Like Home." The album was the most anticipated of the year and did not disappoint when it sold more than 1 million copies in its first week of release in America alone. It's not as good as Come Away With Me, but it's still solid and should see Norah's career stretch for quite some time. If you're looking for a song to really relax you with its classically heartfelt and melodically awesome arrangement then look no further than this song by Norah Jones. She sings from the heart, I tell ya! You'll feel moved when you hear her voice, and that's what is important from someone such as Miss Jones.

This song is good but she is over rated
This is a pretty nice song by Norah Jones and it is good bu6t she is very very very very very over rated she should have not sold that many albums it was a nice peacefull album but this is not as good as Vanessa Charlton who is kind of like her.
Lyrics 8/10 Production 7 Overall 7.5/10 here is the list of the 5 most over rated people right now.
1.Barry Bonds-no where close to Big Mac
2.John Kerry-you guys should have picked Howard Dean
3.Norah Jones-yes she is over rated
4.Donovan McNabb-Rush was right but at least he is nice.
5.Clay Aiken-He is good not great
6.Hilary Clinton-Worst then Bill
7.Katie Couric-unwatchable all the way
8.Kobe Bryant-He is a raper what is not to like
9.The Strokes-Did you see the news they suck
10.Bill O'Reilly-I am a conservative but this guy sucks

Too expensive for a single!
Maybe I was a fool for not realizing the "single" would consist of only three tracks but as they say fool me once shame on you, fool me twice, shame on me. In the future I'll stick to bricks & mortar for my CD's because I'll realize immediately that $12.99 for only 3 tracks is not a merchant's mistake but a rip-off. ... Read more

Reviews (12)

magnificent music to heal your soul
This for me is Bobby McFerrin's masterpiece. Using mainly just his voice, he has created an album of songs which taken together celebrate all that is human and all that is holy. And especially the beauty of the human voice. "Sweet in the Morning" is a superb collaboration with the Voicestra. I especially love "Yes, You", "The Garden", "Angry (Gima)", and "Soma So De La De Sase". As for the 23rd Psalm, it's one of the most beautiful things I've ever heard.

God bless Bobby. I've loved his more recent works, including the wonderful "Beyond Words". "Bang Zoom!" is also a superb album. Medicine Music always moves me, and remains my favourite work of his. In fact, if I could only have one album in the entire world, this would be it!

Start of his departure
If one listens to Mcferrin's early Blue Note recordings (e.g. The Voice), and then just fast-forwards to "Circlesongs", one might say, "Wha... What happened? Why is this so different?". The answer can be found here. Most of McFerrin's work in the 1980s was fairly commercial and "accessible". "Medicine Music" shows some hints of where McFerrin would be heading in the 90s.

The "80s Bobby" can be found in "Baby", "Yes, You", and "Gima", among others. The "90s Bobby" can be found in "Common Threads", "He Ran All the Way", and "Soma So del la de Sase", for example. These latter songs tend toward the wordless abstract note-play of which "Circlesongs" might be called the destination. "Common Threads", for example, uses two syllables, "nah" and "yeah", plus humming and open vowels. In contrast, "The Garden" is a quasi-retelling of the Garden of Eden story, but with McFerrin's own twist, with lines such as "there in the tree there crawled a Lie".

On this recording more than any other to date, Bobby does not hide his Christianity. The last track "23rd Psalm", is even available in choral sheet music for church choirs, although some churches may be a bit off-put by Bobby's twist of referring to the Lord as female throughout. (The notes say the song is a tribute to his own mother.) And to complete the family, his father, Robert McFerrin Sr., puts in a guest appearance in "Discipline". The elder McFerrin is respected opera singer.

All in all, this is an interesting, varied, and pivotal work in Bobby's output. The only reason I marked it with 4 stars instead of 5 is that I prefer his recordings where there's only one copy of his voice ("The Voice", "Spontaneous Inventions") -- this recording is multi-tracked "lots of Bobbys".

Most Incredible Musical Artist
More not-so-simple simplicity and spiritually uplifting material from McFerrin. This album evokes so many feelings and might leave you with tears running down your face. Very unique and somewhat complex sounding production. A fine choice for any fan, or fan-yet-to-be.

Quite an unusual experience, and quite beautiful...
Fans of the unaccompanied voice have to love McFerrin. His own vocal instrument is fine, and his inventive musicianship and eclectic tastes are to be praised. This CD is a grab-bag of styles and feelings: overtly Christian in one selection (except for the minor wrinkle of changing God's traditional gender) and "New Agey" elsewhere; African and R & B, protesty, philosophical, choral and simple at various points. I agree with an earlier reviewer that I like Bobby's solo voice better than when he accompanies himself via multi-tracking, but I have to admit, the choral effect he achieves is not unpleasant at all. This is a strange and interesting product, and overall, quite easy on the ear.

Bobby's Most Underrated Album
Is Bobby McFerrin the best male singer (under the age of 60) in the business today? Some would say so, and point to examples not contained here. But this is a great album. The chanting-type mood set in songs such as "The Garden" and the title track give this album an unforgettable stamp. The set-ender, a quiet recreation of the 23rd Psalm, is guaranteed to put your alpha waves in order. Highly recommended. ... Read more

Reviews (31)

Quintessential Big Band Blues/Swing
Lavay Smith and the Skillet Lickers (LS&RHSL) is a truly remarkable ensemble. The combined musical experience of the members probably amounts to something like 500 years. Some of the members in the horn section, for example, played with the originators of Big Band Blues, like Duke Ellington, Dorsey, and others. Smith's vocals have a polished smoothness that is unlike anything else on the jazz scene today.

"One Hour Mama" is a fulfilling introduction to LS&RHSL, and showcases not only Lavay's vocal stylings, but also the incredible polish of the rest of the band, particularly the horn section. The production quality of this CD is very good, with a warm, rich, mellow sound reminiscent of the early vinyl blues recordings, but without all the background noise.

If you are a fan of Big Band Blues and Swing, you owe it to yourself to check them out. And if you ever get a chance to see them live, roll right on down to the ticket office and grab those chits, because--short of going back in time--you will never have another opportunity to see and hear this music played the way it was originally made. At the very least, you need to buy this CD.

Can't Get Enough Lavay Smith!!!!
I, like one of the previous reviewers, bought this CD sound unheard at the recommendation of a friend. I can't believe that I deprived myself of this CD for so long! I listen to it just about everyday. I would not clump Smith et al in with the rest of the swing/lounge revival bands. They are far more accomplished than mere genre musicians. This is highly sophisticated music and what a VOICE! Her voice has years of maturity and a world of experience and knowledge in it. I particularly love "Blow Top Blues." If you like jazz or blues do yourself a favor and buy this CD. It is truly phenomenal. Now if only they would do a concert in Louisiana so I can see them live!!!!

Exellent jazz vocals with a top notch swing combo
Top jaz zplayers and hot arrangements, are what make Lavay's band standout. Chris Seiberts' boogie woogie piano playing is great and the horn section in tight and has room to solo. Lavay's vocals are original, and at the same time sound right out of the Dinah Washington, and Anita O'Day eras. The greatest cd to coem out of the neo swing era. Even touhh jazz critic Scott Yanow thinks this is one of the best swing cd's to come from the "swing revival" of the late 90's!!!

Authectic as heck
No other "retro" singer in the world today is as authenticly 1940's sounding as Lavay, as a matter a fact her sound goes back to the 20's with Bessie Smith, all the way to the 50's Big Maybelle. Lavay has her own style not sounding like any one singer from the past. But rather sounding like a singer from the past, without copying anyone. Her band is tight and gives exellent solos jazzwise, without compromising the dancability of these tunes. Lindy hoppers and jitterbigs love her. This cd is perfect proof taht something good came of the late 90's Swing revival!

AWESOME! She rocks my world
Lavay Smith is One in a Million! I had the chance to see her in concert and actually talk to her during intermission! Plus I got a signed, autographed copy of her CD. It was fantastic!!
Well worth the money. Her other cd, Miss Thing is awesome too. ... Read more

Amazon.com

For starters, The Great Summit produced not only itself, both with this Master Takes set and the two-CD Complete Sessions, but also a later summit, Count Basie and Ellington's tandem showdown, First Time. On its own, though, The Great Summit needs no later chapters to justify its celebrated standing in jazz annals. This was and is terrifically important music: Ellington is in grand form between recording the Paris Blues soundtrack and cutting ace sessions like Duke Ellington Meets Coleman Hawkins and Duke Ellington and John Coltrane in late 1962. For his part, Armstrong was on leave as well, resting up between ceaseless tours as a bona fide jazz superstar and veteran. So Ellington and Armstrong join hands, backed by the latter's band (Trummy Young on trombone, Barney Bigard on clarinet, Mort Herbert on bass, and Danny Barcelona on drums), tackling 17 of Duke's tunes. Armstrong's sweet, rolling vocal growl gives the tunes endless hugs, just as his band both cuts plump solos and then backs way off so Ellington can throw down alternately swinging and unapologetically modernist solos himself.--Andrew Bartlett ... Read more

Reviews (13)

Monumental
It is difficult to understate the importance of the meeting of these two seminal figures in the history of Amercan music. It is as if Picasso and Rembrandt collaborated on a painting. The result is as good as you might expect, with Armstrong and his all-stars coming up with original and compelling arrangements of some of the Duke's great masterpieces, the Duke contributing mightily from the keyboard, and Louis in as fine a voice as he has ever been heard. Fine sound quality too. Even if you are not a jazz afficianado, this is one CD worth owning as a historical document.

Why isn't this CD owned by everyone in all the world?
Oh, my gosh. Some dude nicknamed Duke plays piano on 17 of his own compositions. Featured is a trumpeter and singer nicknamed Satchmo, who brought along five of his band members. They recorded on two consecutive days in NYC in April, l961. They were geezers, and the record buyers were paying more attention to Miles and Coltrane and Brubeck at the time, although both old guys were still touring and pleasing audiences. Then Bob Thiele, a producer of all kinds of music, including Buddy Holly, but mainly a jazz expert, got Louis Armstrong and Mr. Ellington together at last. He couldn't get the whole Ellington Orchestra, so he compromised and got the Armstrong All-Stars as backup. The result is this total 67-minute masterpiece (and now a two-disc version as well, adding the rehearsal takes.) If you claim to love American music, buy one of these darn sets as quickly as you can. The sound is superb, the performances divine. If you don't love this, e-mail me and I'll buy your copy at a discount. But check for a heartbeat, because you may be dead and not realize it. This is the jazz pioneers' version of "Kind of Blue" in my opinion. The CD deserves much wider notice than it gets. Originally released on the small Roulette label, the album seems to have been overlooked even by Duke and Satchmo fans, which amazes me. If there are nearly 400 reviews of "Kind of Blue" posted on Amazon at this point, surely there should be 100 fans commenting on "The Great Summit."

As good as it gets
This is my favorite jazz CD, even better than Davis's "Kind of Blue," Armstrong's "Great Chicago Concert," Artie Shaw's "Highlights from Self Portrait," Sintra's "Songs for Swingin' Lovers," Ella (singing almost anything), and "The Complete Ella Fitzgerald & Louis Armstrong." Armstrong's All-Stars with Duke sitting in on piano, playing all Ellington. Great compositions with great improvisations.

Just listen to the five samples Amazon.com provides. "Cottontail" opens with consecutive solos by Ellington, the great Barney Bigard, Armstrong, and trombonist Trummy Young, then later features a great scat "verse" by Armstrong. Almost every one of the cuts is as strong.

This was the CD that brought clarinetist Barney Bigard to my attention. He played for years with Ellington's band, then with Armstrong's All-Stars, and I later read in Gary Giddins's "Satchmo" that Armstrong considered him the best jazz clarinetist he ever worked with. Listen to his solos on "Cottontail" (one is in the Amazon.com sample) and "Beautiful American", as well as his sparkling repartee with Armstrong on "In a Mellow Tone."

Buy it and enjoy -- over and over.

Pure pleasure
Wow! Was this recorded yesterday? It sounds just like that. Now, this is what I call listening to the Duke playing in your own living room. This has all the felling of an after hours jam session, five musicians, relaxing, and enjoying every note they play. When you have the greatest improviser of jazz performing with the greatest composer in jazz, well, you know its a sure bet. I only wish I had known of this album before. Very underrated by the way, since you wont find it in anyone's top list of best jazz albums ever, but it is more than just a casual encounter, these guys knew this meeting was a once in a lifetime shot. Thank you Blue Note!

One of the greats!
Sometimes a set of music is a no brainer. Duke Ellington's piano backing Up Louis Armstrong through 17 of Duke's greatest hits should be all one would need to say. The music here is simply timeless. Backed by Danny Barcelona on drums, Matt Herbert on bass, and the overlooked Barney Bigard on clarinet Pops and the Duke swing hard from top to bottom. It is hard to hear "In A Mellow Tone", "Dukes Place", or "Don't Get Around Much Anymore" without cracking a smile and tapping your foot. This is a classic recording that should appeal to fans of music outside of jazz and goes without saying that it should be in all jazz collections! ... Read more

Amazon.com

This album's full title should read Songs I Heard When I Was a Kid and Never Forgot, as Harry Connick covers a selection of familiar, if unlikely, chestnuts. Who can deny the appeal of classics such as "Supercalifragilisticexpialidocious" and "Spoonful of Sugar" (from Mary Poppins) and "Oompa Loompa" (from Willy Wonka and the Chocolate Factory)? Connick proves his worth as an arranger, especially on the tracks that get the full New Orleans swing treatment. Boasting several excerpts, The Wizard of Oz must have made quite an impression on young master Harry: "Ding Dong" becomes a zippy big-band number and "Over the Rainbow" begins with a thunderous intro before segueing into the familiar melancholy tune. But the best is the obscure "The Jitterbug," a brilliantly catchy number that had been cut from the movie's final version. Still, as good as they are, Connick's arrangements don't quite match Herbert Stothart's original ones. The CD ends with The Sound of Music's "Edelweiss" and "Do Re Mi," the latter in a swell finger-snapping version. Connick's silliest record to date is also his most warmly endearing. --Elisabeth Vincentelli ... Read more

Reviews (62)

Musicals with a little cayenne pepper added?
The lady at the record store told me about her experience when I bought this CD without hearing it and I admit that I certainly agree with her. Children's songs? Am I going to like this?

The answer is: YES, YOU ARE!!!

If you were a child in the sixties and seventies you probably grew up with and remember well, the musicals, 'Sound of Music,' 'Mary Poppins' and 'Willie Wonka and the Chocolate Factory.' Only now you get to hear them again with a little Dixieland cayenne flavor added to spice them up.

Connick opens with excitement as he sings a word we all know but can't spell: Supercalifragilisticexpialidocious. The horns and brass take over and the walls will shake with the volume, so be mindful of the neighbors. Another fifteen tracks follow; some you may recognize, some you may not. But the bottom line: you'll find yourself singing along and tapping your feet like the big kid that you are. And if you have it loud enough, your neighbors will too! This CD is guaranteed to bring children and adults together with a common and enthusiastic celebration of music.

Give this CD a chance
Ok, I was a little skeptical of a jazz cd with the "oompa loompa" song on it, but if nothing else I thought my kids would like it. This cd is great! I love it. What a cool idea, to take songs that we used to hear in movies and sing when we were kids, and set them to great music. It brings back so many memories hearing all these songs again, but done in a way that is not childish sounding. My kids are two and four and they love this music. Adults will love this music, I am going to play it at our next coctail party. Harry Connick, Jr. is wonderful. He has the smoothest voice. I had several of his cd's before this one, but I am now a Harry fan.

Good for Parents; So-so for Kids
Much of what is good about Harry Connick Jr.'s music--his unusual phrasing, his unique song stylings--works against this disk from a child's point of view as he alters some well-chosen material almost beyond recognition.

My family (which includes five children, 4-14) listens to all kinds of children's music, and the kids would rate this near the bottom (though most have grown to like his version of "Oompa Loompa").

My wife and I, who own several of Connick's other CD's, enjoy this disk. But it would get a lot more airplay in the minivan if it were sung with kids in mind.

If he set out to create an album of children's songs for adult ears, Connick has succeeded. If you're looking for something the kids will enjoy, do a search of Tom Chapin's stuff (especially "My Hometown" and "Family Tree").

Relive your childhood!
Of course you have to be of a certain age to have this qualify as sounds of your childhood! But if Willy Wonka, The Wizard of Oz, Sound of Music and Mary Poppins colored your childhood, these songs will take you back but with a grown up sound! You may not be able to sing along the first couple of times through, but you will! You KNOW the words....you just have to learn Harry's spin on the beat and timing. But before you know it you'll be sitting in traffic singing "...what do you get when you guzzle down sweets?...Oompa Loompa Doompity Dah..."

Arrangements & Orchestrations!!!
I'm amazed at the excellence of arrangements on all of Harry's recordings. Everytime I read a title of something really old and worn out, I honestly think it'll be inane, but never, NEVER underestimate the power of a stellar orchestral arrangement! With "Songs I Heard," the tunes are classics and standards, but brilliant writing and performance bring a life all its own! I first discovered his sublime arrangements on "Come By Me" (my fav Connick album) and how he turned standards I thought I'd never listen to into music I now absolutely love! It's all in the arrangements and orchestrations, man! I HIGHLY recommend this! ... Read more

Reviews (4)

This CD is the best!
Whatever style of music you like or whatever mood you are in, this CD compilation has it all. It is soothing, consoling, inspiring and just plain encouraging.

I picked up my copy at a used CD place but I have urged many other people to pick it up. It just plain feels good to take it in. It will make you glad to be alive.

Another Solid Capitol Issue
These "Capitol Sings" CDs are terrific surveys of the works of the great American songwriters, and the Irving Berlin disc is one of the best. Standout performances include Kay Starr's "You're Just In Love," Betty Hutton's up-tempo "Blue Skies," and Peggy Lee's "Cheek To Cheek." There are also some lovely Nat King Cole numbers, and a seldom-heard Bobby Darrin swinger ("All By Myself"). A great addition to any collection of 20th-century standards.

All you need to know: "All songs written by Irving Berlin"
As soon as album begins with Mary Martin and John Raitt doing "There's No Business Like Show Business" from the 1957 television soundtrack of "Annie Get Your Gun," you know that this Capitol Sings collection of Irving Berlin songs is going to be a winner. As with this entire series you have quite a collection of tracks from the Capitol vaults, with a little something of interesting for every Berlin fan. This time around I especially like the female vocalist and backup numbers: Margaret Whiting with the Crew Chiefs doing "Heat Wave" and then the Pied Pipers on "God Bless America," and Jo Stafford with the Starlighters singing "Play A Simple Melody" and then the Lyn Murray Singers on "White Christmas." Stafford is the singer I have rediscovered through this series, and for every song by Nat King Cole, Peggy Lee or Dean Martin you are going to find Sue Raney, Kay Starr and Dick Haymes. I should make special mention of the Nat King Cole Trio doing "What'll I Do" and Judy Garland on the title track. There is also a previously unreleased track of Dinah Shore doing "The Song is Ended (But The Melody Lingers On). But let's face it. If you like Irving Berlin's music it really does not matter who is singing "Always" or "Steppin' Out With My Baby" (both Gordon Macrae in fact). These tracks, taken from two decades worth of recordings, show how adaptable Berlin's songs were to a variety of musical styles. The Capitol Sings series is one of the better ones I have stumbled across in buidling my music library.

A wonderful tribute album
I usually steer clear of tribute albums -- with very few notable exceptions (the "Two Rooms" tribute to Elton John & Bernie Taupin springs to mind), they always fall flat. But how delightful that Capitol Records has culled from their extensive catalog some of the very best examples of Irving Berlin material recorded by some of their classic vocal artists, most notably the great Judy Garland. This album is worth the price of purchase just for Judy's rendition of "Puttin' on the Ritz" alone.

If you're a fan of Judy Garland or of Irving Berlin, be sure to check this album out.... and add it to your collection! You won't be disappointed, since at this price, it's a REAL steal! ... Read more