Amazon.com essential recording

Her luscious alto has the depth and texture of a great tenorsaxophonist, but Cassandra Wilson's defining asset is a postmodern song sensethat enables her to surf through Son House, Neil Young, Johnny Mercer, BillieHoliday, and (gasp!) the Monkees in pursuit of strong songs that can providethat instrument with a canvas. Her second Blue Note album extends Wilson'sseductive pilgrimage beyond the conventions of jazz repertoire andaccompaniment, yet it's her instincts as a jazz singer that inform thesebrilliant readings. The settings again step away from traditional small groupjazz (for starters, there's no piano) to evoke the emotional core of thesesongs. Anyone who can turn the Monkees' "Last Train to Clarksville"into a slow-burning erotic vignette deserves your attention. --SamSutherland ... Read more

Reviews (42)

An amazing melding of styles into something truly unique!!
Cassandra Wilson has for years been one of the true jazz divas with a fertile imagination and a fine sense of swing. Her smokey seductive voice lends itself well to reinterpretting even the most hackneyed piece and thus giving it new life. When she sings of love both lost and found she does so with a worldliness and maturity so absent from the many pop singers making a living today. Here, in this recording, Cassandra tackles a wide variety of pieces from diverse sources. Everything from the Monkees to U2 to Billie Holliday with great success. Who would've thought that "Last Train To Clarksville" would or could be hip? Everything is given a unique treatment. The instrumentation and arrangements are unusual and often times brillliant. Everything has a live and intimate feel, as if she is in your living room singing just for you. This recording would appeal to anyone open to diversity of style and with an appreciation of real soulfulness without all the needless affectation. Cassandra is a master of re-interpretation, in that sense alone she is ahead of the pack of the recent group of new singers being hyped as notable heirs to the Billie Holliday/Ella Fitzgerald/Sarah Vaughan. Of these vocal giants Cassandra is closest to Billie Holliday in sincerity and with an outstanding unique voice like Sarah Vaughan with some Carmen McCrae thrown in. This is a courageous album being that the mix of styles might offend the jazz purists as well as being one of those recordings that could sit in both the soul, jazz, folk, blues or even pop CD bins. She is a singer who has delivered consistently over the years and refuses to be confined to the well trod upon path.

Smoky, earthy, confident style.
If you admire the musical excellence of legends such as Sarah Vaughn and Billie Holiday, you'll enjoy Cassandra Wilson's channeling of old style music into a modern interpretation. If you admire the Afrocentric spirit of Erykah Badu and Lauryn Hill, you'll be impressed by the use of African percussion and various string arrangements. If you love the deep, husky, throaty altos of Anita Baker and Toni Braxton, you'll dig Wilson's vocal range as she sweetly sings the high notes and gives earthy emphasis to the low notes.

"Solomon Song," which Wilson also wrote is my favorite track. I enjoyed the intense interpretation of "Strange Fruit." "Death Letter" brings percussion to the forefront, and the violin is a sweetly melancholic addition to "I'm So Lonesome I Could Cry." Wilson never hides behind the instruments, the producers, or backup singers so the entire CD quietly shines.

If you like Diana Krall, you will love Cassandra Wilson. While Krall did a dedication to Nat King Cole with her latest release, Wilson's latest release (not this one, Traveling Miles) is a dedication to Miles Davis. So there is some similarity in style, but Wilson is more spiritual, more earthy, more grounded, more confident, more tried. Her pacing is slow, dramatic, and studied and it works.

I turned to Cassandra Wilson because I was looking for music to tide me over until Sade's next release. But now, I am a fan and I plan to acquire more of her music. I rotate this disc with Blue Light Til Dawn, Sade, Roberta Flack, Erykah Badu, Les Nubians, Billie Holiday, and Sarah Vaughn.

Quiet, yet fiery inspiration from one of today's greats
This recording would probably be worth it for nothing more than Wilson's reimagining of "Last Train to Clarksville," the 1966 hit written for the Monkees by Tommy Boyce and Bobby Hart. The sassy Monkees version was a huge success, but Wilson, with the help of a superb arrangement and musicians, mines the song's anxiety and doubt in a completely different way, but just as mesmerizing.

Other high points on this enormously well-conceived disc are a gorgeous version of Hank Williams' "I'm So Lonesome I Could Cry," a summery, engaging "Skylark" (yes, Hoagy Charmichael) and U2's "Love is Blindness," an aching ballad that Wilson imbues with overwhelming regret. And just the right choice to end is Neil Young's glowing "Harvest Moon," gently fading out in a haze of shimmering guitar work. Wilson's outstanding musicians -- creative, enthusiastic, yet never overpowering -- must share some of the credit for the success here.

If you go for Wilson's ethereal yet husky voice, not to mention her marvelous taste in choosing and reworking material, this recording shows her at her most luminous. Arguably her best to date, and one of the great jazz vocal recordings of the 1990's.

ONE INCREDIBLE JAZZ SINGER
Wilson is truly amazing, but not so much for her voice by itself, but the way she transforms non Jazz material no one ever would have dreamed of doing. She doesn't just pull it off. She makes seem as natural as breathing. I can't think of anyone else who could have taken a piece of mid 60's cheese like The Monkees "Last Train To Clarksville" and transform it into a really swinging Jazz number. Her reading of U2's "Love Is Blindness" is beautiful as well as making songs by Hank Williams and Neil Young all her own. There are also a a couple of standard
Jazz numbers here and she's no slouch as a writer. Case in point: "Solomon Sang". There's also her arrrangements which feature a Joni Mithchell style of "Whack Tuning" as it's refered to in the liner notes, as well as some very diverse instrumentation. It might take you a few listens to really get into, but most great music does and this is without a doubt, great!!!!

Solomon Sang Is A Perfectly Realized Piece
One of the most achingly beautiful songs you'll ever hear. ... Read more

Reviews (14)

Great music in an even better package.
The Ultralounge series -- in addition to being great collections of music that straddle the line between irony and good music -- also have commendable art production, with the best examples being their Fuzzy and Tiki samplers.

This is a CD everyone wants to look at: Packaged in faux bamboo, it opens up to a CD printed like a slice of pineapple. Remove the CD and see the glass beneath. The CD booklet contains a beautiful painting of a 1950s swinging cocktail lounge.

And the music? It's a great sampler of the Ultralounge series, and a stronger album on its own merits than the previous Fuzzy sampler. Of particular note are the rock and roll covers on this album (poor Mel Torme -- did he realize that he'd end up a punchline) and the bongo lessons track. This album also contains numerous hidden tracks that aren't listed by Amazon.com.

A great value for the music alone and a CD that all your friends will be jealous of when they see it.

Ultra Cool
I own all the ultra lounge CDs. This is a great sample set and a great place to start if you are new to the series. The Fuzzy Sampler is good too, along with Vegas Baby. Ultra lounge series has alwasy been heavy on instramentals...some great, some ok. This disc has a lot of intramentals but every one is a gem! i love this CD and the entire collection. Not really Tiki music, but a cool set anyway. if you want more Jungle stuff ....try a Martin Denny CD or the Del-Fi title: Jungle Jive.

Ultra-Lounge has done it again
Attracted to the hip, texturized cover, I purchased this CD to serve as an introduction to the Ultra-Lounge series... and WHAT an introduction it was! The disc contains 1-2 samples from several Ultra-Lounge discs including...

TV TOWN
- "The Munsters Theme"
- "My Three Sons"

BOSSA NOVAVILLE
- "So Danco Samba (Jazz'n'Samba)"
- "The Look of Love"

WILD, COOL & SWINGIN', TOO!
- "A Boy From Ipanema"
- "Just A Gigolo/I Ain't Got Nobody"

MONDO HOLLYWOOD
- "Theme From 'The Apartment'"
- "Moon River"

BONGOLAND
- "The Inch Worm"
- "Brazil"

BOTTOM'S-UP!
- "Oh, Honey"
- "Guys And Dolls"

ON THE ROCKS, PART ONE
- "Light My Fire"

ON THE ROCKS, PART TWO
- "Happy Together"

THE EXOTIC MOODS OF LES BAXTER
-"Go Chango"

THE EXOTIC SOUNDS OF MARTIN DENNY
- "Cubano Chant"

THE ROMANTIC MOODS OF JACKIE GLEASON
- "A Taste of Honey"

The title also features six bonus tracks, "Come On-A My House," "Wives And Lovers," "Wave," "My Baby Just Cares For Me," "I Dig Chicks!" and "Get Smart/Casino Royale."

This CD has the potential to serve as an introductory disc or a collector's piece. Just remember Ultra-Lounge afficionados, this CD is a sampler. If you already own the individual Ultra-Lounge compilations, many of the tracks will be repeated. But, with six bonus tracks and ultra-swank packaging, this CD is definitely worth the money for collectors and newbies alike.

Like A Time Machine
A great compliation of music that transports you back to a time when tiki bars and cocktail parties were all the rage. The CD has a good variety of music - from tiki-ish, to space age, to downright wacky. The packaging couldn't be any better!

I loved it
I discovered this CD while browsing in a record store awaiting a friend. Intrigued by the cover and campy artwork, I decided to give it a try. Am I glad I did! I listened to it three times from beginning to end on my trip back to Tallahassee from Orlando. I've never heard many of the songs before, so although they're 40 or so years old, they sounded new and fresh to my ears. I truly enjoyed the "Boy from Ipanema," "Brazil," and Jackie Gleason's "A Taste of Honey." Although I'm an avid Doors fan and have even met Robbie Krieger, the CD's elevator version of Zacharias' "Light My Fire" had me giggling with glee. I work in the rock music industry, and this was a welcome change from the generally nondescript and repetitive music heard on popular music stations today. I think anyone who can nostalgically remember these songs when they were first released, as well as those like me who were too young to have caught them as original releases, will enjoy these hits. I've since ordered three more Ultra-Lounge CDs and am planning my first retro-cocktail party--as soon as I can find some tiki drink stirrers, lava lamps, and faux bamboo wallpaper in the local party store. Fun fun fun!! ... Read more

Amazon.com

Vocalist Bobby McFerrin, best known for his pop hit, "Don't Worry, Be Happy," is a talented vocalist and all-around musician. This recording is a true reflection of his genius, and it takes jazz-fusion to another level. Joining McFerrin is the great pianist Chick Corea, with Gil Goldstein on accordion, Cameroonian bassist Richard Bona, Brazilian percussionist Cyro Baptista, and drummer Omar Hakim. Their music is a 21st-century blend of Return to Forever and Weather Report. McFerrin's superhuman vocalese investigates and invigorates a number of musical genres. Corea's spellbinding piano motifs grace the calypso-like "Invocation." McFerrin and Corea turn in a beautiful duet version of the pianist's waltzing jazz standard, "Windows." "A Silk Road" and "Desert Field" are laced with Afro-Eurasian and Arabic colors. Bona's Jaco Pastorius-influenced bass lines anchor the hip-hop oriented "Taylor Made," named for McFerrin's son, whose human beat-box vocals pepper the track. Bobby McFerrin's voice sings, scats, and constructs a musical language that's understood by everyone. --Eugene Holley Jr. ... Read more

Reviews (12)

Beyond words indeed
McFerrin is one of a kind and this CD proves it. Words cannot express the delight I feel when I listen to this CD. It takes me to a different place. Where that place is I am not quite sure, but it is a wonderful place free of cares. Most important it is free of useless chatter. There are no computers, video games or cell phones in this place. It is simply a place where peace and music take control. It is a place where you can't help but to do what McFerrin said in his pop single, " Don't worry, be happy." But this far surpasses that classic. This Cd demonstrates that McFerrin can say much with only saying a little. This is a masterpiece that can't be duplicated. There will be no remakes on this one. Thank God! McFerrin does his music and vocals like no one else can. Buy this CD and let McFerrin take you to that wonderful place beyond words!

Bobby keeps evolving
This recording is kind of a cross between McFerrin's "Play" and his "Circlesongs". Like "Play", it is evident that he is taking his jazz seriously, but it has something of the minimalist approach of "Circlesongs". Those expecting the sunny "Don't Worry..." McFerrin will probably be disappointed.

While the music is not calm or inert, it is understated. The work here is subtle. He doesn't try to overpower you with his immense creativity. As the title suggests, there are no words in his singing -- something he has been exploring in most of his recent recordings. And in a bit of a departure, this CD is not just about him; he lets the other musicians take the spotlight.

Bobby is evolving -- into a more complete musician. That's not to say his earlier works are lessened in any way; it's a realization that Bobby can dovetail his ideas with others. All in all, an interesting recording with much to recommend it.

Killer Jazz Album
Get ready for action. Bobby joins Omar Hakim, Chick Corea, and Richard Bona to create a one-of-a-kind masterpiece. Yum! Your guests will ask, "What in the world is this beautiful music?"

Caught me by surprise
I've been a rock fan most of my life, but since I've been playing bass I've been listening to a lot more jazz. I bought this disc because Jazz Times gave it a good review. It's a great jazz album, but I was totally caught off guard by how much I enjoyed the world music aspects of the disc. Bobby's silky smooth lyrics just grabbed me, and the disc is now a permanent resident in my cd-changer.

FABULOUS!!!
What a wonderfully perfect CD! This is by far one of my favorites in my CD collection! Great for listening at work and I love listening to this on road trips. My favorite tracks are 4, 6, 10, 14 and 15. It's simply marvelous! ... Read more

Amazon.com essential recording

A harrowing classic, Billie Holiday's personal favorite among her '50s albums captures the singer 17 months before her death, her once honeyed voice, scarred and weakened from punishing life, its ravages highlighted by the 1958 session's crisp sonics and the contrasting "satin" of Ray Ellis' sleek string arrangements. Yet it is that very contrast that explains the power of these performances: In revisiting its torchy standards, Holiday reduces them to their core of pain and longing, transforming "I'm a Fool to Want You," "You Don't Know What Love Is," and "You've Changed" into naked declarations as mesmerizing and unsettling as a horrific accident.Any postrocker that presumes pop standards and string sections automatically translate to "easy listening" hasn't listened to this. This 1997 version adds unreleased takes and a beautiful 20-bit digital transfer to extract every shivering pang of Holiday's music. --Sam Sutherland ... Read more

Reviews (55)

The start of a love affair
I admittedly was never particularly drawn to Billie Holiday for various skewered reasons (too legendary, too long ago, too sad). But after seeing her story on an A&E Biography, curiosity got the best of me, especially with respect to Lady In Satin. I remember having run across this album in the stores; it was the only Holiday offering that looked like an actual album, as opposed to the endless profusion of latter-day compilations.

I haven't wanted to listen to anything else since I bought it last week. It's just that good! There's something to be said for an artist's so-called "declining period". Though even for someone like myself who's largely unfamiliar with Lady Day's early work, this album can make for difficult listening. But her worn out, often fractured voice only adds to the material's emotional honesty. Be prepared to have your heart ripped out by "Glad To Be Unhappy"; her voice has a whimsical trace that somehow manages at times to pierce through the sadness.

Placing singers with less-than-perfect voices into lush pop arrangments tends to make for very appealing contradictions.
It's very easy to see why this was Holiday's personal favorite album. The well-documented liner notes only serve to make the album and the Lady all the more compelling. This one will haunt you...and you'll be glad.

I finally got it..
Writing an review for Billie Holidays "Lady in Satin"... Not an easy task.. Because you just can't explain this one... I could say that the lyrics are good (wich they are), or that the arrangments by Ray Ellis are beautifull (wich they are)... But it just won't do. This CD is pure magic, I absolutely love it.. To hear Billies voice so scarred, so.. for lack of a better word.. weak, a far cry from the once cornett-like instrument, is in itself a powerfull experience. But the raw emotion, passion, sorrow and heartache that she puts into theese performances.. It just makes you want to cry. Wich is exactly what I do each time I listen to this album. I just can't help it. If you know anything about Billies life, listen to the lyrics.. Lady Day really knows what she is singing about. It is one of those moments in life where life imitates art, or art imitates life, as the case may be. Listen to it.. Really listen, because it is one of the most powerfull albums you will ever hear..

Admittedly, this is not an "easy" album in anyway. Billies shaky voice does not make for easy listening. The first time I heard it, I did not se what all the fuss was about.. But then I tried listening to it again.. and again.. And the third time, I got it. I finally got it..

The Best Ever.
This is my first review on Amazon. I have never felt the need to do a review on Amazon before. Simply because someone would have always said all that I would have wanted to say.
56 people have reviewed this album before me. Pretty much every good reviewer has said what I am going to say. And yet I feel compelled to review this album. No one, I repeat no artist has ever sung from the depth of his/her heart like Billie Holiday in this album. The music pacifies you, and Lady Day's voice fills you with the deepest sorrow. And yet, in the end you emerge as if transformed by a divine experience.
Now, I will be fair. I had first heard this record 2 months back. And as it turned out, it was the first record of Billie Holliday that I had heard. Naturally, I was surpried, as people who know their stuff regarded her as one of the greats, and this record of her's as the best of all. But I was disappointed.
Eventually, I went back and heard more of her earlier recordings, read about her life, and again came back to this record. And now I truly believe that no artist has ever sung from his/her heart like the way Billie Holiday did in this CD. This album is truly beautiful. And the beauty is hidden underneath a sratchy and haggard voice of a lady tormented by physical and emotional distress.
If you do not know much about Jazz don't buy it.
If you haven't heard Lady Day before, wait till you have heard some of her other stuff.
If you have heard her before and haven't heard this album, then you are missing out on something no words can describe.
And as a tip to those who do not "get" this album. Like Ray Ellis said it, hear it emotionally and not musically.

an essential classic ?
Having just read an article entitled the most essential jazz music of the past century I went and purchased ths Lady in Satin. This was an album that was professed to be one of the great ones. Powerfull and essential in Holiday's catalogue.
I placed it into the CD palyer with great anticipation, first was the orchestration, big full and accurate. Then the horrific, screatching, off key shaky voice of the singer.
I went onto the next track and more of the same. Fantastic big band orchestrations marred by this scared vioce. One track is an outtake and she speaks as if she was drunk ! I understand she had her hard times but at least the recording engineers could have taken the bottle out of her hands.
This was a horrible let down.

Altisimo nivel emocional
Es curioso la controversia que este disco despierta. Razonable porque la voz de Billie Holliday está ya muy deteriorada, como si tuviera 80 años. Pero para mi su interpretación es mejor que nunca, trasciende sus propias posibilidades vocales y la emoción desborda, el dolor empapa los deliciosos arreglos de Ray Ellis y los sentimientos se apoderan de un disco impagable e irrepetible.
Este disco aparece aproximadamente 1 año y medio antes de su muerte, y es su mejor legado, una colección de hermosas viñetas de amor y desamor, desgarrado pero no exento de un pequeño rayo de esperanza a veces (for heaven's sake).
Entre las canciones del disco, mis preferidas son I'm a Fool To Want You (entre las mejores de su repertorio), For Heaven's Sake, You Don't Know What Love Is, You've Changed o The End Of A Love Affair.
Disco especial e irrepetible, joya atemporal, testamento de una de las mejores y expresivas voces del universo jazz, pop. Este disco no merece menos de un 10. ... Read more

Amazon.com

Sophomore slump? Not for Tierney Sutton. After a memorable debut in Unsung Heroes, the willowy singer of elegant purr and urgent phrasing focuses on an even more intensely personal project--singing a well-paced set of 14 songs, all but one written by or associated with legendary pianist Bill Evans. Tierney maneuvers her hand-in-glove trio (no guest horns) through Evans's ineffable book, and comes up with a date that's perfectly relaxed and fitting. She sidles through quiet moments and breezy bits, engineers tempo shifts, applies gentle gestures, and edgily improvises. Instrumentals like "Very Early" and "We Will Meet Again" earn fresh lyrics from Sutton and others, yet Tierney manages to evoke Evans's disquieting genius at each turn of phrase, as pianist Christian Jacob, himself cut of Evans-esque velvet, counters with arching, heartfelt lines, sometimes eerily evocative of the master. Each tune sets a unique internal pulse, a rhythmic point-of-view that invests the arrangement with individuality--fleet dotted-eighths on "Autumn Leaves," a tentative ostinato on Miles Davis's "Blue in Green," a slinking "You and the Night and the Music"--all obliquely recalling Evans own inimitable, unmistakable phrasing. Knowing touches include inviting in Evans's last drummer, Joe LaBarbera, to airbrush "Waltz for Debby/Tiffany," overdubbing harmony and adding a bass on "Sometime Ago," and daring to air back-to-back ballads, as Evans often did. As tributes go, she's mined pure gold. --Fred Bouchard ... Read more

Reviews (16)

Almost too good.
The context of this review is that I have all of Tierney Sutton's CD's and I think that hands down, she's the best of the new female Jazz interpreters. She has the range, dead-on pitch even on a rollercoaster of scat, and intelligence behind every lyric. Her first two CD's are so good that they'll just grab your ears away from whatever you're doing and force your amazed attention.

"Blue in Green" is a little different. It's more subtle, more polished, but maybe with a little less adrenalin. You are lulled into listening to that smooth surface, but aren't pulled in as deep. It's very good, but in a different way.

In a way it's a little too good. I think I liked Tierney when she sounded like she had to try a little harder and push the edge just a little farther. If you buy all her CD's (and you should), you'll see what I mean. Stay hungry, Tierney.

Top of the bunch
I love vocal jazz and I have a remarkable collection of cd, including female vocal jazz. Besides the classic Billie, Sarah, Ella, Dinah, Carmen,Betty, the new classic Dianne Reeves, Cassandra Wilson, Diane Schuur,Dee Dee Bridgewater, which I all hugely love for different reasons I am constantly looking ahead and checking for the new ladies coming on the scene. I know that trying to find the best of the bunch it's a hard and extremely task and definitely a question of subjective taste. But when it comes to Tierney Sutton, I just cannot stay quiet and I have to point out her superiority.
I think Karrin Allyson is a shining diamond in terms of style and taste, Diana Krall (although overrated) is a great piano player and an intriguing singer, I'm perfectly aware of the emotion that comes from Rene Marie's phrasing, I recognize that Carla Cook has a superb soul and a great technique, just as Laverne Butler's.
All this said, Mrs Sutton is above all them, on my opinion: her pitch, her aim a a note are simply flawless, although her great technical skills don't affect at all the emotional side of her singing. She's always there, she knows what she's doing, she's full of surprises and at he same time is so reassuring: you know that no matter the key she has picked for a particular song she'll deliver it with force, grace, taste. In other words, I'm in love with Tierney's art. This particular album inspired by Bill Evans music (but just pick one of the three she has released, they're all great) is full of poetry: my personal fav is her short, deep rendition of "Turn off the stars". "Just squeeze me" is brilliantly performed and sung with a natural approach that makes you sway with pleasure, "Detour ahead" is a widely-won challenge (so many great singers have covered this beautiful song, but Tierney manages surprisingly to make it fresh again); the worth conclusion of this beautiful cd is a fabolous cover of the immortal "Old Devil Moon" : a tour de force of perfect singing, a "tourbillon" of passion, love, happiness....
Do yourself a favour: don't miss this great artist: Billie, Ella, Sarah and others would definitely nod in approvation from above!

One of the most perfect jazz voices today
I love Tierney's voice. She is certainly one of the best of today's jazz singers. I took away one star because the bass playing on this CD often overwelms Tierney and the piano, especially the piano. Hopefully on the next CD they'll take the bass down a notch or two and bring up the piano.

Attention Amazon! (or am I just talking to a computer?)
Attention, Amazon! I think that when there are only about 12 reviews, to print 3 similar ones by the same person is irresponsible, because whether they are 5-star or 1-star (or as here, 3 separate 3-star reviews by the same person saying basically the same thing), they can seriously skew the overall ratings.

Tierney's Most Underrated Album
This album, a tribute to the wonderful, lyrical jazz pianist, Bill Evans, has some moments on it that will grab your attention immediately. The album begins with a wonderful rendition of "Just Squeeze Me," a relatively obscure Fats Waller tune, ends with a rollicking version of the more-covered "Old Devil Moon," and in the middle, is the most original cover ever of the Tin Pan Alley classic, "You and the Night and the Music."

But those are the most immediately accessible moments. In between, are some wonderful brooding renditions of "Turn Out the Stars", "Blue in Green", and the album's highlight, "Waltz for Debby/Tiffany." The latter, I think, is Tierney's most emotional tune, and that's saying something:

Ms. Sutton is the coolest singer around, and her sidemen are sensational. Christian Jacob is a treasure, and the rhythm section of Henry and Brinker is the best since Entwhistle and Moon.

Ultimately, this album is the same experience as listening to a Bill Evans album. It's so subtle, so lyrical, so balanced, and ultimately so perfect, that you don't appreciate its beauty right away. Stay with it; you'll be glad you did. ... Read more

Amazon.com essential recording

From the evocative cover painting to the impeccably chosen songs within, this 1965 album harkens back to Sinatra's great Capitol-era concept albums like In the Wee Small Hours and Frank Sinatra Sings for Only the Lonely. The theme revolves around a man approaching his 50s, looking back with a mixture of nostalgia, regret, and uncertainty; given Sinatra's age at the time (he was 49 when this was recorded) and the way he invests himself in the material, it's impossible to interpret the record as anything but autobiographical. Wistful numbers such as "Don't Wait Too Long," "It Was a Very Good Year," "September Song," and the title track all hit the emotional bull's-eye, but everything here is excellent. Unquestionably his finest Reprise-era achievement. --Dan Epstein ... Read more

Reviews (32)

One of Sinatra's finest hours
September of My Years is a perfectly arranged selection of songs recorded as Sinatra neared his 50th birthday (1965). It is outstanding, in that the 13 songs absolutely belong together on this collection, perfectly realized by Sinatra's mellow voice of the 1960s. It is especially stunning to compare songs like 'Hello, Young Lovers' to the early Columbia recordings, which are also first rate but lack the sincerity derived from five decades of living.

From the Gordon Jenkins-arranged introduction to the title track to the closing September Song, the music (with Jenkins signature strings) provides the right wistful, reflective backdrop to a Sinatra whose voice has aged like wine.

'It was a Very Good Year' is probably the standout, and the kind of magic even FS could not have recorded when he was starting out in the late 1930s. Here it is evocative, heartfelt and very moving. 'Man in the Looking Glass' is remarkable, as is 'Once Upon a Time.'

I agree with Dan Epstein's review: this is essential Sinatra, certainly the best concept album on Reprise. The listener can feel that Sinatra is singing part of his autobiography here, and for those of us still moved by his passing it takes on an even greater significance.

Very highly recommended.

gentle, poignant Sinatra
When I was 20 you couldn't have convinced me I'd ever own a Frank Sinatra album, but a few weeks ago I found myself humming these songs that I'd heard my mother playing years ago. The arrangements sound a little dated but their virtue is unchanged -- they leave Sinatra's voice far forward -- and some of his greatest performances are here, bookended by two masterpieces -- "The September of My Years" and "September Song". The songs selected flawlessly support the album's concept of the singer looking back from his approaching 50th birthday, and Sinatra doesn't hit a wrong note anywhere. When you think of everything it meant to be Frank Sinatra -- what a life to be looking back on! -- the chance to listen in is irresistible. You can't help but bring the ol' math brain out of mothballs to figure out what month your life is in; if you're getting older and have September in common with Ol' Blue Eyes, it doesn't seem so bad; if you're still in the early days, it adds some perspective to your thoughts and feelings about aging.

"The September of My Years" -- Not the first version recorded by Sinatra, but the definitive version. His voice is perfection, as smooth as Scotch, and his tone one of reflection without bitterness. The dip when he sings 'A-a-and I find ....' is lovely and restrained.

So often Sinatra could have descended into melancholy, but didn't -- "How Old Am I?" has not a trace of self-pity and "Don't Wait Too Long" is never churlish.

"It Gets Lonely Early" -- Good lyrics and superb phrasing propel this tearjerker to a higher plane.

Some of the songs have sub-par lyrics and arrangements -- "This Is All I Ask" and "I See It Now" -- but Sinatra's phrasing pulls them out of the hat.

Other masterpieces include "Last Night When We Were Young", with an arrangement as timeless as the vocalization, and "The Man in the Looking Glass" -- quintessential Sinatra -- quietly passionate and more than a little irreverent without ever being clownish.

"It Was a Very Good Year" -- Hey, I'm as cynical as the next person, and I enjoy irony, but you can't listen to this song without thinking it might be nice to hold a world-view that didn't reject romance and hope as passe. And what woman wouldn't want to be remembered as the singer of "Once Upon a Time" remembers his long-ago sweetheart?

"When the Wind Was Green" -- an evocative arrangement with Sinatra's smooth-as-silk delivery.

"Hello Young Lovers" is a terrific song, and can you hear it without believing Frank is thinking of Ava Gardner. The song reaches out to the young without condemnation or condescension -- a trick most adults of the '60s couldn't pull off.

"September Song" -- 'When the autumn weather turns the leaves to flame, one hasn't got time for the waiting game' .... 'And these few precious day,s I'll spend with you'. Such a great song so perfectly sung.

Even if you're not a diehard fan, you can't help but enjoy hearing Sinatra at the top of his form on this breathtakingly beautiful album.

Best of the Reprise years.
This is without a doubt, and almost by leaps and bounds, the best Sinatra effort of the Reprise record label years. This cd holds it's own with the classics In the Wee Small Hours of the Morning(which is my personel favorite) and Frank Sinatra sings for Only the Lonely. Outside of those two sets, it may be better than any other of his Capital work, which is a very bold statement. Sadly, the only other dics which are on the Reprise label that are almost as good as this one are Ring a Ding Ding and Ol Blue Eyes is Back. If you can get these three dics on Reprise and then buy the Reprise Colection box set, then you will have all the Reprise you need. The Columbia Years box set is great if you enjoy really dated, but beautiful music. Almost anything from the Capital years is essential.

pop music as beautiful art
perhaps his greatest hour. a beautiful, honest statement upon approaching fifty. the pangs of mortality and regret are throughout without being showy (as it would later be in works like trilogy).
the selections here were shrewdly and brilliantly chosen to evok a definite, underlining concept.
one could write on and on about each piece, but it is sufficiant enough to say that there isnt a false note in the whole of the album.
whoever would have thought that depression could be so intoxicating?
this is popular music at its most vital.

Completes the trilogy of melancholy masterpieces...
If you, as I do, heartily like Frank's "In the Wee Small Hours" and "Only the Lonely" albums, then add this one to your shelf as soon as you can. There are wee differences among the three discs, and each is fine. Here, Frank is older, wiser, less devastated by love gone wrong, although still wistful. Definitely NOT for only the lonely, this CD can be enjoyed even if you are in a good relationship. Nobody has done these kind of lyrics and moods better than Sinatra. ... Read more

Reviews (10)

Wow!
I asked for and received this disk as a holiday gift without listening to it first, as I had heard that Julie had a sexy voice and a fantastic delivery. I was not disappointed. Almost all the the songs on the disk are smoldering slow tempo.

The exception is the upbeat, mid-tempo "Daddy," a perfectly-phrased, playful standout. "Daddy" is not sung about her father (unlike "My Heart Belongs to Daddy"), but to the generous man in a woman's life.

This is for quiet, sensuous late nights. Unfortunately, Ms. London did little recording after the late 60's, by which time lounge music had lost its appeal to younger listeners. If this collection is any indication, she leaves behind an impressive body of work.

The Best Overview
This is the first and best CD anthology of the great Julie London- not surprising, since it's from Rhino. The tracks are very well chosen, and they caught the best aspects of her career here, starting with the sparsely arranged material of her first few albums, going through the bigger-band stuff, and stopping a little short of the pure pop of her last few recordings. Julie London was a truly original performer who brought a sleek and sexy and very understated touch to what was nearly always A-plus material. Her first recording defined her: the classic "Cry Me A River" (found here, but not on the campier Capitol collection "Wild, Cool, & Swingin'"), a soft, nearly acoustic torch song that suited her voice and persona perfectly.

The liner notes are intelligent and informative, as one would expect from Rhino, and they even gave us one of the terrific covers that Julie was famous for, adapting the jacket art from "Around Midnight". The one song that's sorely missing here is "Well, Sir", written by her husband, Bobby Troup- a neglected gem from "London By Night".

Julie London deserves to have her whole catalogue reissued, and the next two we need are "Lonely Girl" and "Make Love To Me". Capitol? Rhino? How 'bout it?

Smooth 50's Style
Just received my CD - very classy, very smooth. Julie London was a great songstress. Give this a try if you are looking for some great mood music.

The Queen of All Lounge Singers
When a woman looks and sounds like Jessica Rabbit, shows up at the right place at the right time, gets a hand from talented song writers like her second husband Bobby Troup, the result is the best darn lounge singer we've seen yet! Julie is her name!

This greatest hits CD features many of her legendary torch songs, as well as fantastic songs tailer-made for her own special singing style. "Cry Me A River" will always be Julie London's signature song. My personal favorite is the naughty "Daddy", remeniscent of Eartha Kitt and Marilyn Monroe, giving it Julie's personal "gold digger" touch.

This CD is one of the best in the genre of "Cocktail Hour" albums. It's right up there with any of the "Rat Pack" albums. I highly recommend this CD!*****

Stands the Test of Time
Idle curiosity compelled me to see if any Julie London recordings were still available, and questions about her actual talent led to purchase of this recording. Long ago I let my LP's by her get away, regarding them as little more than carefully produced exploitations of her fabled beauty. But this photogenic model was more than a period piece. The voice is enticing, the intonation secure, the diction clear. The breath support is occasionally lacking, especially for a "stand-up" singer, leading to some choppy phrasing, but not enough to detract from the communication of the song.

The album itself is an inspired selection of her best material, ranging from intimate guitar to full orchestral settings. She brings new life to old standards such as "I Surrender, Dear" and "You're My Thrill," and sexy humor to the less familiar--"Go Slow" and "Daddy." Compared to her contemporary canaries such as Christy and Connor, Julie can sound more personally provocative, and her readings wear better to this listener's ears than Diana Krall's recent recordings.

I usually reserve five stars for Ella, Sarah, Billie. But the total of 18 songs and the generous liner notes (full bio, song descriptions, even fold-out photos) make this album uniquely appealing. ... Read more

Reviews (7)

In the Mood for Nat
This is great stuff. He does mangle the Spanish language, but even that seems appropriate considering when the recordings were made. The engineers did a great job capturing the acoustic instruments and the vocals. Reminds me of the high fidelity recordings by Esquivel that you can get on CD today.

Perfect background for an outdoor summer drinks party.

Soft, suave and Spanish Nat King Cole
Unlike most of the other reviewers of this disc who came by way of exposure to "In The Mood For Love" I can actually remember listening to these songs as a child. I was thrilled to see this compilation of Spanish songs featuring the underappreciated song stylings of Nat King Cole. He had a voice for the ages.This disc is based on two recordings on Capital that he did in Spanish. The superb recording and superior "Cole Espanol" was the first of two efforts and included some of the best offerings on the disc including "Quizas, Quizas,Quizas" where Cole croons at his best and in pretty good phrasing for a non-Spanish speaker, "Las Mananitas"(Mexican birthday song) and the tribute to the revolutionary, women soldiers of 1911 war torn Mexico, entitled "Adelita,"in which he is accompanied by mariachis for an authentic interpretation, "Acercate Mas" where he is accompanied by the Rivero Quartet, the unforgetable composition by Agustin Lara, "Noche de Ronda" where the marimabas chime in softly with the background chorus adding to the fine textures and 50's cha-cha- cha dance numbers like "Cachito" and "El Bodeguero."The original recordings mentioned were recorded in Havana, Cuba under one of the leading conductors in Cuba, Armando Romeau Jr. The result is a polished professional eclectic mix of Spanish songs reflecting the diversity of Latinos with songs from Mexico and South America. The orchestration and background vocals work wonderfully with the smooth voice of Nat King Cole. I would highly recommend his disc to those that like Nat King Cole and want to experience another view of this multi-facteted and talented musician or those that like nostalgia or romantic songs in Spanish. Whether your memories ae 50's backyard bbq's while your parents chuckled over the novelty of Nat in Espanol or the tenderness of his voice in the film you will not be dissapointed by this collection. You will probably use it as part of the soundtrack to your new memories for another generation. The only downer about this disc is the packaging, it is void of any information except the obligatory song titles and composers. Get this disc for another portrait of Nat King Cole that transcends international boundaries.

Ay, Cosita Linda!
This is just wonderful. Although Nat King Cole's accent in Spanish leaves something to be desired, he is such a wonderful singer that I can overlook this. His rendition of "Ay cosita linda" makes me want to get up and dance! A beautiful and varied selection of Mexican, Cuban, and Puerto Rican music. The backup vocals are good -- and in unaccented Spanish. Every song is beautiful.

TAKE IT ON HOLIDAY
Take it on holiday - get in the mood - sing along! All velvety and sophisticated as you would expect with good arrangements.

You'll hear the same songs being played in some of the Spanish bars (go on impress the locals!) and you'll recognise English versions of others. Pretty simplistic Spanish accent, but its a delight.

Comadreja que cantar (that means Singing Weasel) - oh come on, get in the groove!!

A wonderful summer evening experience
I bought this after seeing In the Mood for Love but before the soundtrack had come out. I'm so glad I took a chance on it. Not only does it have Cole's songs from that film, but many others, some just as good. His voice is as silky smooth and romantic as ever, but listening to him in Spanish (for someone like me who doesn't know the language) is a wonderful way to focus on the pure musicality of Nat King Cole and his orchestra. The sound quality on this 1993 is just fine, as lush as it ought to be. It's worth having just to hear a different side of Nat King Cole aside from the obvious hits you usually hear. ... Read more

Reviews (4)

Buyer information
This review is for the seller that I recently ordered my CD
from. The sellers' email address is csablosky@comcast.net.

I recieved the CD The Essential Sarah Vaughan on a timely
manner and the CD was in good shape.

Thank you. Guna :)

Classic Sara Vaughn
A real treat to listen to. Soulful, sassy, well composed, some of her great songs for sure - but not all of them.

Sarah and Orchestras
Great singers do not need big ensembles. Although this is a CD of high merit, the orchestra and jazz ensemble obsure the beauty, enchantment and (vocal)timbre changes that Sarah Vaughan so often exhibits in her works. Although I love vocal virtuosity, the vocal acrobatics presented here are a bit much; but, due to the quality of some songs selected, I will only assume, Sarah had no choice. Thank goodness the song "Feelings" was not written, as of yet (I think), during the time this album of songs was produced. However, for those who prefer big orchestras accompanying singers, this is the album for you.

UNEQUALED CROSS-OVER ARTIST
Sarah Vaugh's song "Broken Hearted Melody" that went to the top of the POP Charts in 1958/59 is an example of a pure artist who can use her voice in any venue. This is an excellent album. To me it's her finest produced. ... Read more

Reviews (8)

We need a remastered version Verve
This is more than a decade old, and I dont like the sound very much. Verve should really release these tracks in a new compilation with better sound. I prefer the early Billie Holiday, and to me she reached her peak at her last sessions for Columbia. I'd strongly recommend to anyone just getting into Bilie to check the Columbia/Legacy stuff first. This is more difficult to appreciate, but stil is great music. Billie is the best jazz singer that ever lived, period.

GOD BLESS HER SOUL !!!
For many years now, there's been going on a "strange" comparison between Billie's two periods : before and after her time in prison.... The explanation is very simple. You don't buy Billie's records in order to HEAR them, but to FEEL them !!!! It wasn't her technical capabilities in singing that made the Lady famous. It was her emotions, her strength at heart, her willingness to overcome all the problems she had with her private life. That's what you get if you purchase the "Lady in Autumn" CD. You get a Great Lady that stands up with pride, and still manages to keep a high level of quality at her work. It's harder to remain at the top, than getting there at the first place. And Billie stood at the top for a very long time !!!!!

And Still Her Heart Has Wings
This is the best ballad collection of Billie Holiday to date. You hear someone who has experienced life, in every nuance of her voice. 'These Foolish Things Remind Me Of You' is the most heartbreakingly perfect ballad ever recorded, with a subtly touching piano accompaniment by Oscar Peterson. This track is for those who have loved and lost. 'Don't Worry 'Bout Me' has an ironic sadness when viewed from here and it is appropriately placed as the last song in the set. It will make you cry.

A Revelation
There is an on-going dispute between Holiday fans: is Billie Holiday more interesting at the beginning of her career, when her voice was at its best, or at the end of her career, when her interpretive skills were at their finest? My preference is for the latter, and LADY IN AUTUMN offers a truly fine sampling of later Billie Holiday recordings.

Even at its youthful best, Billie Holiday's distinctive, very quirky voice was never noted for any of the qualities we usually applaud in great singers: Holiday's range, power, and breath support were always more than a little ify. But Holiday showed a remarkable facility for shaping her voice much as sculptor might, and she transformed her vocal defects into an astonishing personal idiom that has never failed to mix musical delight with raw emotional power. And this ability was at its height toward the end of her career.

It is true, however, that Holiday's later recordings are an acquired taste, and listeners who are new to her unique stylings may be put off by the vocal roughness of her later work. But for those who have already listened to an enjoyed her earlier work, Billie Holiday's LADY IN AUTUMN will be a revelation.

Lovely lonesome and blue
A voice so jarring it can crackle the sun and mirror the moon.I never heard none sweeter than Billie Holiday.This collection shows the despair that ravaged her later years but kept her believing in music.Her children were her songs and she gave them all the love she had. ... Read more

Reviews (2)

Some classics and some really fun songs from the Forties
When you listen to Volume 1 of the "40's Hits" you might think the dominant artists of the decade were Johnny Mercer and Margaret Whiting. Each has three songs in this collection, including their famous duet of "Baby It's Cold Outside." Bing Crosby gets too songs, a solo on "Swinging on a Star" (this version is not the one from the film "Going My Way") and backed by the Andrews Sisters on "Don't Fence Me In." The girls go solo on "Rum and Coca-Cola," where they do some interesting Trinidad lingo. There are a couple of other fun songs on this album from Peggy Lee and Tex Williams. You also get Nat "King" Cole's "(I Love You) For Sentimental Reasons" and Judy Garland's "The Trolley Song." You will have no problems looking over these songs and finding at least five tracks you do not have in your music collection and need to add. The packaging is bare minimum, but the songs are first rate.

Great Records of the Decade: 40's Hits
I originally bought this cd to use in a history unit I teach on the war years. The students enjoyed the music so much they ask to have it on during writing time. My parents, in their 70's, have told some fun stories after listening to this music. It will take you back to big band days and swing music. The beat is toe-tapping and if you are not too young you will recognize all the songs. A great addition to your library. ... Read more

Amazon.com

Newark, New Jersey native Sarah Vaughan possessed one of the greatest voices in jazz, an instrument of operatic range. A child prodigy, she was featured singer and organist in Newark's Mt. Zion Baptist Church. She won the amateur night contest at the Apollo Theater in Harlem in 1942, and was singing with the Billy Eckstine band by 1943. Vaughan recorded with Dizzy Gillespie in 1946. By the end of the decade she was famous; 16 Most Requested Songs reflects Columbia's efforts to package her as a pop act. The best moments, such as "Black Coffee" and "The Nearness of You," are mixed in with a program of show-tunes highlighted by "That Lucky Old Sun" and "Summertime." --John Swenson ... Read more

Reviews (2)

Out Of This World
Let me tell you. If ever god made anything better than this cd, hemust have kept it for himself, because this is the cream of the crop. If only one of Sarah`s cds, let it be this one. You`ll never get tired of hearing it and eachsong seems to be made to be fitfor her style. This recording is absolutely beautiful. This is a must have cd. Any collection of jazz wouldn`t be complete without it. I have heard these songs performed by many other artists but I like her versions best of all. This recording is truly magnificent!

A Must For Any Sarah Vaughan fan, best place to start
This CD is an amazing compilation of Sarah Vaughan's best interpretations of classics like Summertime, It Might As Well Be Spring, The Nearness Of You. Personally, the lady does the best cover of Black Coffee compared to a lot of jazz singers. She is definitely one of the most amazing jazz singers we have ever seen in a lifetime and I would say, she is in the top three for the century. ... Read more

Reviews (27)

CLASSIC STUFF!
My first review of this CD didn't make it, I hope this one does. This first self-titled album from the guys, was a milestone in Christian music. It won them 2 Grammies in both jazz and gospel. It was also the first and only time a Christian act was nominated in the Best Newcomer category. Even such industry giants as Quincy Jones and Stevie Wonder had to take notice. The a cappella sound was given a major shot-in-the arm with the release of this classic. With rich vocal harmonies, and impressively unique arrangements; Take 6 recorded traditional black church music like it had never been heard before. 'If We Never Needed The Lord Before,' 'Mary,' 'David And Goliath' and 'Get Away, Jordan,' all stand out along with two outstanding originals; 'Gold Mine' and their trademark masterpiece 'Spread Love.' Many popular groups of today, trace much of their style and sound to this recording. Yes, even Boyz II Men! This is where any serious Take 6 collection must begin.

First recording is the best
First things first: this is a phenomenal recording by 6 guys with terrific "chops". Singing in 6-part tight jazz harmony is extremely difficult; it takes a very good ear. Well, there are 12 very good ears here. They are cool, tight, and they swing, but they are not over-produced. You can listen to it as primarily jazz, or primarily gospel, or you can just listen and enjoy.

I own about half of Take 6's CDs. As far as I'm concerned, this first one is still the best. "So Much 2 Say" and "So Cool" come close. The recordings where they stray from their a capella roots are much less effective -- all the extra sound covers up their excellence.

There are a few tiny things in the recording that they probably wish they hadn't have done (like the sound of breaking glass added at the end of one song), but it's very hard to find much to fault here. Not only are the performances just about perfect, the arrangements are excellent -- and they were done exclusively (? not sure about that -- don't have the CD in front of me) by the members of the group. Terrific attention to detail. Almost all the singing is without vibrato, but they add a thick vibrato in two short phrases, to great effect. About half the songs are almost exactly the same tempo (meaning they run the risk of a stale "sameness"), but they get away with it. Each track has many gems to explore. I never get tired of listening to this recording, and there are very few recordings I can say that about.

All those "boy bands" out there don't even belong in the same category with Take 6. Period, no exceptions. They also blow away groups like Rockapella or Manhattan Transfer. For my money, the ONLY a capella jazz group that can compete with Take 6 (and maybe even beat them) is the Real Group (3 guys and 2 gals) from Sweden.

Flawless
One of my favorite albums of all-time. The accapella sound was refreshing and will make you hunger for more from Take 6. This is their debut but So Cool is just as good. Also check out So Much to Say. These are their three best albums.

PEACE OF MIND
VERY GOOD ALBUM, MY FAVORITE SONG IS HE NEVER SLEEPS. INSPIRATIONAL SONG TO THINK ABOUT GOD AND HIS GLORY. MUST BUY FOR JAZZ, GOSPEL AND ACCAPELLA LOVERS.

An incredibly good listen from the inimitable Take 6
It's been noted that this, the first and eponymous Take 6 album, won the group Emmys in both the gospel and jazz categories. The honor was deserved on both counts, as their music somehow manages to straddle jazz and gospel without sounding either derivative or precious. This is strikingly original music, by an explosively talented group of six young men. The fact that the songs are a cappella makes their achievement in this album all the more laudable.

The harmonies are perfect, and I don't use that word lightly. I have listened to this album dozens and dozens of times and I can't find a thing "off" or teetery about the vocals. Everything is strong, pure, clear, and beautifully structured without losing the wonderfully relaxed jazz flavor every song bears.

The album opens with "Gold Mine," a tune about feeling that God's love is a gold mine and something the singers "never expected to find." On their by-now-classic "Spread Love," the group exhorts the listeners to do what the title says, and they do so in such a loose-hipped, snappy, charming way that we are all but commanded to follow their directive. "If We Never Needed the Lord Before (We Sure Do Need Him Now)" is at once worshipful and something you might hear some guys singing on a street corner in Brooklyn in the early 1950s--it's that boppy and humorous.

The group's strength here is on the traditional gospel tunes like "Mary" and "Get Away, Jordan." On "David and Goliath," though, Take 6 positively soars. Commencing like the cautionary tale it is, the song soon surges ahead into a tale that's both tremendously tuneful and filled with humor. The singers employ a variety of vocal techniques and even spoken word work to show the marked contrast between David and his giant enemy. Every line is a wonderment of restraint and thoughtful musicality, while the song as a whole positively bursts with energy. It's a delight, over and over again, no matter how many times you hear it. ... Read more

Reviews (11)

Simone at her best.....
The blues is one of my favorite nina Simone albums. From the opening track the senual Do I move (the answer better be yes), to the almost heartbreaking My man's gone now to the Bessie smith classic i want a little sugar in my bowl among others. My favorite song in this collection is the bluesy since I fell for you in which Nina's voice and tone completely pulls you in. The blues is a gem of an album. It's is Nina Simone at her best and a definite must have.

Why isn't EVERYONE a Nina Simone fan?
Nina Simone SHOULD have been the biggest star of the past forty years, and this album is one of her very best. She does it all - sexy, funky R&B (Do I Move You? Day and Night, In The Dark, Buck), social commentary that makes you feel as angry as she is (The Pusher, Blues for Mama, Backlash Blues) and songs of deep spirituality to inspire you (even without her astounding voice, the piano on "Nobody's Fault But Mine" all by itself could break your heart, and her version of Dylan's "I Shall Be Released," which EVERYBODY has recorded is beyond a doubt the best ever.) Nina Simone isn't one-tenth as well known as she ought to be, and anybody who has never heard her has missed a lot.

Ferocious and moving
Today we lost one of the greatest musical artists that ever existed. This has been one of my favorite albums since I got it 3 years ago. I wanted to write this review to encourage those researching Nina (now that she's gone) to get this album! It will knock you out flat on the floor. "Do I Move You" is down-and-dirty blues (a real eye-opener to those who peg Nina as a jazz singer), as is "Blues For Mama" (probably the first song that turned me on to Nina). "My Man's Gone Now" is downright hair-raising, topped off with a chilling vibrato that only Nina could deliver. Nina's take on Dylan's "I Shall Be Released" reveals a sharp pain to the song that Rick Danko and The Band came very close to in their brilliant version.

The whole album is great, including the rousing live version of "Gin House Blues" at the end. Nina has a great body of work, and these songs are as good as anything else she has done. Put it at or very near the top of your "must-have" list for Nina recordings. Thanks for the great music, Nina.

Some Strong Points--Some Weak Points!
Eunice Waymon (aka Nina Simone) has reportedly been playing piano since she was four years old and recorded her first album in the late 1950's. This CD was originally recorded at various locations between 1966 and 1971 and features a variety of musicians anchored by Nina playing piano and handling all vocal duties. The CD contains approximately 54 minutes of music. Approximately 32 of those minutes feature a rather sultry, sometimes dark, stand out performance by Simone. The remaining 22 minutes of the CD seems somewhat dated, commercialized and do not adequately represent the true vocal capabilities and range of this great singer. For example, "Do I Move You", "In The Dark", "I Want A Little Sugar" and "My Man's Gone Now" are excellent jazz flavored blues tunes that you will want to listen to over and over again. While, "Day And Night", "Real, Real", "House Of The Rising Son" and "The Pusher" you might listen to once and then program the player to pass them by the next time around. There are some exceptional tunes here well worth a listen.

Excellent
Many CD's that label themselves as "Blues" may only contain 2 or 3 tracks that the majority of people with any kind of rhythm would call "bluesy". This CD is one of the noted exceptions. While it is not the hard guitar, I lost my woman blues that is all over SRV's "Bues at Sunrise" (another very noted exception to the above), this CD is truly a blues CD by a woman that knew what the hell she was singing. Even the faster cuts (few on this CD) seem to keep a painful bluesy feel to them. This is certainly a gem in my ever-growing collection. ... Read more

Amazon.com

Astrud Gilberto found fame with her contributions to 1964's classic Getz/Gilberto album, which spawned an instant standard in the hit single "The Girl from Ipanema." From there, she went on to fill many LPs with her winningly hesitant, longing vocal style; this disc collects 25 tracks cut between 1965 and 1970 for Verve. Among them are early versions of a number of Brazilian standards by the likes of Antonio Carlos Jobim ("How Insensitive," "Once I Loved") and Luiz Bonfa ("The Gentle Rain," "Tristeza"). "Fly Me to the Moon" and the Bricusse-Newley "Who Can I Turn To" fit the mood perfectly. Throughout, Gilberto is aided by lush, thoughtful arrangements, including one by Gil Evans on "Berimbou." This entry in the Silver Collection series is anexcellent introduction to one of Brazilian pop's most emblematic voices. --Rickey Wright ... Read more

Reviews (14)

Sunny introduction to a unique vocal style.
Astrud Gilberto's great claim to immortality is her contribution to the 'Getz/Gilberto' album that for one brief moment made bossa nova, that sad melodic jazz from scorching Brazil, the coolest music in the world. That album was in effect a mariage of four voices - the plangent, supple saxophone of Stan Getz; the song-writing and piano-playing melancholy of Antonio Carlos Jobim; the guitar-strumming and mysterious mumbling of Joao Gilberto; and his wife Astrud. Although, creatively, Astrud has often been under-rated, hers is the face and the distinctive sound of this album - her blank, flat singing, her unflappable cool in Portuguese and slight nervousness in English, were the necessary board on which the three men projected their individual eloquence. Some of her most famous Jobim interpretations are featured here, including the spry sadness of 'Once I Loved'; the lush despair of 'Agua De Beber'; and the bright reverie of 'O Morro (Nao Tom Vez). 'Insensatez' is her apotheosis, the emotion banished from her numb monotone revealed in the anguish of the music - listen for the scuttering flute on 'and now he's gone'.

This collection is instructive in showing how bossa nova quickly disintegrated from its fresh initial impulse into cynical elevator music. Compare the simple intricacy of Jobim's arrangements to the strings-saturated muzak of 'Non Stop To Brazil'. Nevertheless, the CD is full of goodies, oddities and surprises. Many of the songs bear traces of the contemporary European torch songs by the likes of Francoise Hardy and Michel Legrand - 'The Shadow Of Your Smile', 'All That's Left I To Say Goodbye', 'The Gentle Rain' and 'Who Can I Turn To? (When Nobody Loves Me)' are beautiful, aching examples. 'Fly Me To the Moon' is a moving bossa nova defamiliarising of a tired standard; 'Let Go (Canto de Ossanho)' seems to swap Brasil for Blackpool with its jaunty Hammond. There is, especially, one transcendent non-Jobim moment, the stark Luis Bonfa classic 'Manha De Carnaval', less than two munutes stretching out agonising desolation.

Two of the Greatest Albums in Bossa Nova on one CD
Though the sound quality is a hair less than one might hope, this is the crown of any bossa nova collection. It includes the original "Astrud Gilberto Album", "Shadow of Your Smile" plus a few "bonus" cuts. After Getz/Gilberto where she achieved stardom (and was paid next to nothing) these were the first time Astrud was on her own but with the involvement of Jobim, Donato, Bonfa, et al. Her achingly sweet voice is a true wonder, and this is the cd that captures her at her greatest.

Such a sweet voice...but what's up with those violins?
Gilberto have, in my opinion, the most beautiful voice in the world of jazz. Sometimes, its sweetness and naivity almost makes you cry. However, whoever produced this CD done a terrible job: The violins are way too loud, and sometimes overcome Gilberto herself! A good voice doesn't need anything but a piano, and maybe a background band, but not a violin. Even if you put it, put it in with taste. It's a great CD, but I'd remix it to lower and soften the violins, because Gilberto is more than enough and should be in the center.

Early Astrud, and perhaps too samey for one sitting
Her first records are meticulously crafted and intimate, but Astrud livened up a little later on, once she shook off the reins of her jazz-giant husband. Here, she's tightly-controlled and just a little uncomfortable and shy. I prefer Astrud's output when she got more ballsy and had input with her song selections. Many of these songs were covered by a myriad of artists, including Claudine Longet(one might say Longet was the French version of Astrud Gilberto). I thoroughly enjoy Gilberto's shaky English and the spare, jingle-jangly production, but if you find these songs a little chilly, pick up one of her late-'60's CDs(like "With Stanley Turrentine")and you'll be surprised how warm and loose Gilberto eventually became in the studio. B-

La Reina de Bossa Nova -- Queen of Bossa Nova
I LOVE ASTRUD'S VOCAL AND RHYTHMS. There is no one in comparison to Astrud's sensuous and slow-paced vocal. Awesome...simply put--this CD, as well as the others from the 60's, opens all invitations to Brazil and its charming and sensuous life on the beach and on the patio. This CD is so good that I own two copies of it. * * * ... Read more

Reviews (6)

Jump, Jive, An' Wail!
Songs from Louis Prima and Keely Smith with Sam Butera and the Witnesses. Songs are great. Compilation includes songs from "The Wildest", "The Call of the Wildest" and "The Wildest Show at Tahoe".

Fast, funny, and worth every penny!
I was skeptical about buying a compilation CD set for fear it wouldn't be good... but I was wrong! I can't get enough of these CD's. I do Swing dance and Lindy Hop, and I think some of the tempos to these songs are a bit fast for dancing, but excellent for listening to when you just want to be in a good mood! Keely has a great voice, and Louis is just plane hysterical :D