5 comments about Ute Lemper - Berlin Cabaret Songs.

1. There are both English and German versions of this cd. You'll need both. Every moment you continue to read, you could be listening to Ute sing. Get out of here!



2. `Berlin Cabaret Songs' by Ute Lemper are issued as part of London recording company's `Entartete Musik' series or music suppressed by the Third Reich. One of the very best things about this issue is the fact that Ms. Lemper and London have issued the album in two versions. One is in the original German and one is sung entirely in English.
   
   For starters, I strongly suggest you listen to both, but if you simply have no interest in listening to the German version, I will reassure you that the English performance is musically virtually identical to the German. The instrumentals almost sound as if they were done Kareoke style, with Ms. Lemper's English or German mixed in afterwards. I'm almost certain this was not actually done, as the translations probably changed a few things here and there about the meter of the lyrics, but I could find nothing in the instrumental or vocal performances to prefer in one over the other, except for the genuine experience of hearing it the same way as the cabaret audiences in Berlin would hear it.
   
   Ms. Lemper's English interpretations, as they are in all her earlier albums, is impecible. It also seems to be about as accent free as you can imagine. Not only is it free of German inflections, it is free of a British accent as well, so it should sound great to American ears.
   
   The first thing which strikes me about the lyrics of these songs is that to my ear, there is practically nothing which is critical or even satiric of a specific government. There is not even much which is sexually explicit, let alone lewd. Some pieces from Kurt Weill in `Mahagonny' may be more objectionable than most songs in this album. One thing that tells us is exactically how extremely conservative the Nazis were about any art whatsoever. The most strident politically oriented song is in favor of women's rights and makes no mention of the Nazi government or any other political party for that matter.
   
   The only weakness of the album may be that virtually all this material is unfamiliar to the average listener, so we don't have the pleasure of seeing how Ms. Lemper does a new version of, for example, `Bilbao Song' or Jacques Brel's `Amsterdam'. But then, I relish any chance whatsoever to hear Ms. Lemper sing. She is still fresh and free of the kind of syrupy sweetness we get from, for example, Barbra Streisand, these days from her `Guilty Pleasures' album.



3. Wow! This beautiful and immensely talented dame knows how to thrill. The album is absolutely superb. And auf Deutsch! There are many jazzy and big band type numbers and some that are a little more folky. But the satire, the humour, the depth of the lyrics, along with the pure artistry and sophistication Ute Lemper brings to the material is quite refreshing, despite the fact that some uncomfortable and depressing topics are covered. What a relief, a modern artist that encourages her audience actually to think! Thank you so much Ute for such a treasure and bringing these important songs to our attention; with all that is going on in our politics and the world these Berlin songs are even more poignant for our times than one may suppose.



4. I recieved this disc for review when I was a radio station DJ about three years ago. However the disc I got, which was on Polygram, was in English. So try to get the English disc if you don't speak German - the translations are great, you'd think the songs were written in English. It has the same title I think, if it is still available. One other reviewer here said that he found the album more relevant to his life than the entire top 40 and I say 'hear, hear' to that. And Ms. Lemper's heffy Cherman eccent is delightful!



5. Sencillamente extraordinario, la maravillosa voz de Ute Lemper nos hace vivir unos momentos de fantasía y alegría indescriptibles. Muchas de mis secciones musicales terminan con éste maravilloso disco (Obviamente que lo tiene que comprar cantado en Alemán). Es uno de mis discos favoritos y tengo más de 2.500 CDs.

   300% RECOMENDADO

2 comments about Café Blue.

1. This is one of my favorite CDs but am confused by the stated release date as I have had it since at least 1998?



2. Although this cd was released in 2004, I have just discovered it, after having heard her rendition of "A Taste of Honey" on a local jazz station. Mezmerized by her vocals and music arrangements, I knew immediately that this was the way that the song should have been recorded all along, so I didn't hesitate to purchase it. I am not disappointed with any of the twelve recordings. Also, I find her vocals on "Too Rich For My Blood" enchanting and would love to hear more strings on this selection, if she ever records it "live" or plays it "live" on stage in the future. I am a new fan of hers now and will be purchasing her other offerings. You will not be disappointed with this cd.

5 comments about Chasing Rainbows.

1. I had this in the original LP album form. I have actually had it in 8 track, cassette, and now cd form. It is a classic. I love listening to this when I'm in a mellow mood. I am a forever fan...



2. The first time I saw Jane Olivor, was during a Charles Aznavour concert. He introduced her as his greatest discovery; because her melodious voice, simply enchants listners. She started to sing, and we became fans. She spoke of a movie that had captured her spirit, The Black Stallion, and from there, we bought the DVD! Now we own all her CDs, and see her whenever she is in town! Would highly recommend acquiring her CDs for a superb musical experience



3. I remembered loving this album years ago when it came out. Apparently my tastes have changed over the years, as I wasn't as thrilled with the CD as I remembered being all those years ago. Still, there are some good cuts and overall I would have to say it's worth listening to.



4. A must have for all those fans of hers and others who appreciate
   the ultimate in expression .



5. Every year or two I dig out Jane Olivor's first album, "First Night" and second album, "Chasing Rainbows" and indulge in a few days of Olivor listening. These two recordings are on my short list of all-time favorites.
   
   Jane Olivor has an exquisite voice: strong, a bit alto operatic, melancholy, and at its best under restraint. She does a lot of French-type cabaret numbers but I like her best on the slow, sad songs. I suppose what really blows me away is the touch -- the phrasing I suppose it's called -- she can give to a single line to make it memorable. The line on this CD I can listen to over and over is "There's children you know, and that makes it so hard to go" in the song "It's all Over Goodbye." She sings this unremarkable phrase with infinite pathos.
   
   My favorite song on the CD is "Beautiful Sadness" which is as poignant a break-up song as I've ever heard. Nobody sings a sad song better than Jane Olivor.

5 comments about Live At The Plush Room.

1. On the liner notes to the CD, Ms. Naylor thanks the Plush Room for giving her the opportunity "..to show the world how much I love to sing." It's clear that she does, and enjoys every minute of it. Lots of Jazz standards we have all heard hundreds of times before, but she makes them well worth another listen. She is backed by an excellent band; there are several exquisite piano solos throughout the record. This is a well-recorded live CD; it puts you right in the middle of the proverbial smoky jazz club. If you are a straight-ahead Jazz fan, this is the CD for you. Mix up the martinis, sit back, and enjoy.



2. This is an enjoyable CD, Jacqui Naylor has a great sultry sound, not unlike the great Billie Holiday. The reason for the four stars is that the recording is very heavy in the bass. I find to enjoy this disk fully, I have to lower the bass way down. I imagine the issue is related to this being a live recording. I urge jazz fans to buy this disk and enjoy this young talent.



3. I was fortunate enough to have caught Jacqui Naylor live just weeks ago. This album captures the almost indescribable, intimately magic touch that she obviously commands with audiences. I enthusiastically recommend this album, along with "Shelter", which shows off her range of compositional skills and a different, non-traditional jazz, (at times almost trip-hoppy/new rock) sound and fascinating reworkings of popular rock songs. She is a genuine artist who has earned all the accolades.



4. Jacqui has one of those voices you either love or hate. For some reason, I come down right in the middle.

   I think this a very good CD overall. I might not go out and buy all her other CDs, but there was enough good stuff here that I'll listen to this one from time to time and still enjoy it!




5. I love this record! Jacqui has that something that makes me feel better when I am feeling down...a certain honesty I think that comes through in her voice and her music. I heard there is a new recording soon to be out and can't wait to hear it. If "I Remember You", the single from it, is any indication of the vibe and the caliber of writing on that record...I'm there.

   She has a lot of soul and sings like an angel with an edge! I really appreciate the chances she takes with her music and feel that while I know she is a jazz singer, she sings standards in a really hip and interesting way. Her voice sounds a bit like Billie Holiday in that soothing kind of way sometimes but mostly she just sounds like her...like she is telling a story and no matter what kind of story she is telling...a standard, a rock cover or an original...she means it!
   
   I also like that she tries to do good things with her music like helping to keep music in the schools and getting involved with artists against AIDS. I think that is really admirable and probably not easy to do in the entertainment business.
   
   One more pet peeve of mine...for a live recording this is actually done quite well. I am a big jazz fan and I have a lot of live recordings where I love the music but the recording drives me crazy so I really appreciate the care that was taken in selecting these live tracks and putting them together in a way that really flows.
   
   I can't listen to this CD enough and can't wait to hear what's next from this exceptional artist!

5 comments about First Night.

1. This CD needs to be digitally remastered due to lack of sound quality. Not some of Jane's best songs.



2. My father, me, my daughter....the music transcends the ages. You cannot be disappointed. You'll flip thorugh the songs, you;ll end up letting a couple play, you'll then find yourself either humming them or waking up wanting to hear them and that's when you know that sometimes musical quality is simply overlooked when not sensationalized. It tells you something that the album was Stereo Review's album of the year.......



3. Being a fan for almost 30 years, what can you say about an artist that is the ultimate in emotion and expression in singing a song?



4. Jane Olivor's first two albums, "First Night" and "Chasing Rainbows" are as good as vocal music gets. "First Night" is a bit more upbeat and Cabaret-style; "Chasing Rainbows" is more melancholy. Both feature Jane Olivor's marvelous voice, which seems best described as a cross between Edith Piaf and Judy Garland.
   
   Jane's exquisite turn of a phrase makes ordinary lines unforgettable. Two of the best are "Ragged men in ragged clothes, a silver thorn, a bloody rose" from Don MacLean's marvelous song "Vincent." Another is "I would trade the moon... for a string with an orange balloon" from the cynical, world-weary cabaret tune, "One More Ride on the Merry-Go-Round." Jane's "Some Enchanted Evening" is perhaps the best version of this standard ever recorded. Oddly enough, I don't like very much her signature song, "C'est La Rose" which seems a bit affected to me.
   
   Back in 1976 this album was cited as the best of the year by "Stereo Review." I wouldn't disagree much, although I think her later album "Chasing Rainbows" may be even better.
   
   Smallchief



5. I first heard Jane Oliver in the 1970's and was immediately captivated by her voice. To me it is like honey dropping into a nice warm cup of tea. I have looked in vain in record stores to find her recordings, and all they have is stuff like Madonna, Janet Jackson, etc. who purport to be singers?? They have no melody you can follow, just yelling!

   I was thrilled to find Jane's records are still available on this website, CDNow, although Amazon has acquired it. Thank you for continuing to offer great artists such as Jane Oliver and Johnny Mathis, and at a reasonable price! These are my opinions, they may not agree with others who like the above-mentioned "so-called artists"??

1 comments about Great Ladies of Rock & Roll: The 50's.

1. There were five ladies who held their own on the charts throughout the earliest years of the birth of R&R, and three are among the first four appearing in this compilation from Collectables. Two are in the R&R Hall Of Fame - and the other one should be.
   
   LaVern Baker, who leads off with her late 1956/early 1957 smash Jim Dandy (# 1 R&B/# 17 Billboard Pop Top 100 billed to LaVern Baker and The Gliders) was inducted in 1991. Brenda Lee, who appears on the 4th track with her 1960 hit Sweet Nothin's (# 4 Billboard Pop Hot 100.@ 12 R&B) was so honoured in 2002. Connie Francis, who racked up 56 Pop hits, and saw 8 cross over to the R&B charts, including the featured tune Lipstick On Your Collar (# 5 Hot 100/# 10 R&B in summer 1959), is still on the outside looking in! How ridiculous is that?
   
   Also inducted (in 1993) were Ruth Brown, who appears at track 8 with her 1957 hit, Lucky Lips, (# 6 R&B/# 25 Top 100), and Dinah Washington at track 12 with her 1959 mega-hit What A Diff'rence A Day Makes (# 4 R&B/# 8 Hot 100), although in her case she was brought in in the "early influence" category. A distinction without a difference in my opinion.
   
   The sound quality is excellent on all cuts, and with the fold-out insert you get artist-by-artist and track-by-track comments written by Al Fichera. Although I do question his entry on The Co-Eds and their tune Love You Baby All The Time where he says "this hit single was released in 1956 by the Old Town label." If it was a hit it had to have been on some obscure chart because it certainly did not make either the Billboard Pop Top 100 or the R&B charts.
   
   Even so, with lead Gwen Edwards, it's still a hidden gem and sure to be pleasing to collectors of the "girl group" sound, along with the other non-hits Lullaby Of The Bells by The Deltairs (in 1957 on Ivy Records), To Be A Part Of You by The Clickettes (1959 with lead Barbara Jean English), and the hard-to-find hits Cry Baby by The Bonnie Sisters (# 18 Top 100 in February/March 1956 on Rainbow Records), and Please Mr. Disc Jockey by The Sensations (# 13 R&B in May 1956 on Atco).

5 comments about Ken Burns JAZZ Collection: Billie Holiday.

1. I am not a jazz or music expert, but Billie Holiday is my favorite vocalist, period. However, most of the other collections I have of hers (and admittedly, it's pretty limited) seem unable to divorce her public persona from her music. We know about her personal struggles, and it almost seems as if other producers have arranged her songs to reflect the inevitable downward spiral we know will come.
   
   This album, however, hits the perfect Billie Holiday pitch. For the first few songs, she's young, maybe slightly hopeful, but definitely a little haunted. For the bulk of the songs in the middle, she's romantic, but edgy with cynicism about her experiences and weaknesses. The tragedy seems to have arrived by the last three tracks, but even still, it's not so hopeless that it's painful to listen to.
   
   "Solitude", "Autumn in New York", "Traveling Light" and "Gloomy Sunday" are my favorites here. If I have any complaints about this release, it's that it whets my appetite for more.



2. This album is absolutely fantastic, and unlike most users I like the static. I got for Christmas I had never even heard Billie Holiday before, but I saw the movie "Lady Sings The Blues" and I looked her up and I listened to a sample of "Good Morning, Heartache and fell in love with her and other singers from her era.



3. In spite of the warnings from the other reviewers, I got this CD as I found no other having all the songs I was looking for. The hissing noise on 3/4 tracks are as irritating as everyone have written about. Verve records(or Ken Burns?) seems to have acted in a quite cavalier fashion in picking these noisy versions of these songs, the listeners deserved better. But I must say that this is the best 1-CD compilation of Lady Day that we have today - don't explain,solitude,strange fruit,autumn in new york,good morning heartache - it has them all. The only song I miss here is 'stars fell on alabama'. And you know what? Those noisy tracks don't sound as distracting to me any more with more and more days!



4. IGNORE all the reviewers who complain about sound quality. None of these songs were copied from "bad masters". These songs (regardless of sound quality) were picked because THEY ARE THE BEST. Gloomy Sunday, Strange Fruit, Autumn in New York(ohhh piano) and Solitude are absolute gems. I couldn't possibly say enough..I love haunting, sad, beautiful music. However, there is a better version of Yesterdays(with a organ accompaniment) on the Billie Holiday Verve Jazz Masters 12 release. But if you like Billie's sad stuff(how could you not?) this is the best collection I have seen. Oh yes and I looovvee the sound of old recordings--the way the lack of any high end makes the piano just melt together and the percusive thump of the bass and piano and guitar just melting...the sound melts...cherish the low-fi...cuz you wont ever hear like that again.



5. I have real mixed feelings about this one. As a casual introduction it misses the mark because of the terrible sound on the earlier hits. These songs have been available in remastered form for quite some time now, so it is unbelievable that listeners must endure the terribly distracting tape hiss to hear the early songs, when they can be enjoyed on other collections without so much surface noise. Possibly Burns wanted them to sound "authentic" and more immediate, but to me it is a waste of time. The later hits are pretty well represented. For the rabid fan, there is one song here unavailable anywhere else, as far as I know: the incredible 9 minute -plus version of Fine and Mellow, taken from a Jazz documentary from the late 1950's and featuring some of the most talented musicians who ever took to the stage. Billie's voice is more mature on this cut, slightly deeper, but the intonation and the feeling remain intact. I personally prefer this later version of this classic Holiday track, because the years of experience and heartache bring a new level of vocal performance. This one track is a must have for fans, and the only reason I bought this otherwise flawed collection.

5 comments about The Fabulous Josephine Baker.

1. There is not another one who could touch her for sheer talent and heart! "La Baker" moves me deeply on this stereo recording. The orchestra is great! This is a treasure in my collection!



2. The manner in which the great Josephine Baker evolved as an artist is extraordinary, while as a vocalist, she aged like fine wine. Up until the late 1940s Baker's voice was light and twittering, and at times maybe even a little shrill - a fine example of the 'pop' female singing voice in vogue during the 1920s and 30s. By the early 1950s one finds that her voice had transformed into a marvelous mezzo instrument, and by the time she recorded the chanons avaialbe on this album her voice had evolved even more - it was the inctrument a true master, grand and opulent as the city of Paris. Her technique was perfect and her pitch impeccably controlled and rich, with quick and precise vibrato. It is really is astounding to think that the same woman who sang "J'ai Deux Amours", "Haiti", or "C'est lui" is the vocalist on this album.
   
   Unfortunately when most people outside of Europe think of La Baker, it is not of the 'Diva magnifique' she became after WWII, but rather of the little black girl from St. Louis dancing topless in a banana skirt, singing in broken french, and living in a castle (or, even worse, of Lynn Whitfield in that awful 1990 bio-pic "The Josephine Baker Story", which, by the way, didn't even use Baker's real vocals). Most recordings that are easily available on disc are primarily of Baker's recordings from circa 1926-1940, and are essential interpretations of the french chanson, inspite of the fact that Baker has an incredibly think accent and murders of the french language at every turn. In spite of all of this, a study of the vintage french chanson is impossible without Baker's early recordings.
   
   But Baker didn't sing that way forever. As her singing abilities grew, her voice deepened, and she mastered the french language. This era appropriately coincided with the next transformation in her career that occured after WWII - from the Folies Bergere dancer to 'La Diva magnifique'. Her interpretations became, musically, primarily of South American influence in the mid-20th century modern style, and her voice was better than ever. This recording, a very appropriately titled re-release of the 1963 RCA compilation LP "The Fabulous Josephine Baker", is available for all to marvel at La Baker during this era.
   
   The album's liner notes give no information about the history of the songs included, the recording sessions, or anything else of real use, with the commentary included in the liner notes being taken from the original release of 1963. For some reason the back cover states that the album includes Baker singing "...the Jazz Age's favorite songs", a rather inaccurate statement, as these many of these numbers were either written especially for Baker long after the so-called "Jazz Age" came to an end, or are her own interpretations of popular french chansonettes (it is significant to state that Baker was NEVER a jazz singer or musician; but rather the poster girl for the Harlem renaissance and the Jazz age. Her "occupation", if you will, is almost always incorrectly credited - although she was a much celebrated dancer in her early career, she spent the majority of her career as a singer).
   
   Six of the songs offered here are taken from Baker's 1959 show "Paris mes amours", which she took to the USA in the 1963 as "The Fabulous Josephine Baker". This was Baker's "comeback" revue after she "retired" in 1955. Her desperate financial situation forced her to return to the stage, and were it not for this fact the wonderful recordings of her later years might never have been made. From 1959-1960 Baker made several superb recordings with her husband Jo Bouillon's orchestra, most of which are included on this disc. Missing from this disc are "Terre seche", which was recently covered by the french pop singer LamieLa; the divine "Clopin-Clopant" (which has nothing to do with the popular version recorded by Streisand); and Baker's interpretations of Maurice Chevalier's "Fleur de Paris" and Charles Trenet's "Romance de Paris". "Clopin-Clopant", "Romance de Paris", "Fleur de Paris" and the instrumental numbers were not released on disc until 1993, when RCA put out the CD "My Greatest Songs: Josephine Baker" in the out-of-print "My Greatest Songs" CD series. The wonderful "Terre seche" has yet to be released on disc. Seven songs from "Paris mes amours" were originally sold in 2 volumes on 45 inch LP at the Olympia Theatre when the show opened in 1959, and were never sold again. In 1962 RCA released the LP "The Fabulous Josephine Baker" in order to commemorate Baker's American tour of the same name, and in 1963 they released a new version of the album as part of their 'Living-Stereo' series, this time including more chansons Baker recorded during the 1959-1960 recording sessions. Throughout the 1960s RCA released an incredible number of compilation albums that featured different combinations of songs taken from Baker's 1959-1960 recording sessions (8 by my last count). In 1995 the original Living-Stereo LP was issued onto the CD release reviewed here.
   
   The original LP release of "The Fabulous Josephine Baker" included a large yellow label that rightly announced that the album included " ... superb orchestral backing ... ". Indeed, on these recordings Baker is accompanied by some wonderfully orchestrated music (another reviewer on this page calls the arrangements corny, which is shamefully inaccurate). The orchestrations are primarily the work of Jo Boyer (uncredited in the liner notes), the french trumpet player and big band leader. In the more up-tempo numbers Baker's husband Jo Bouillon does the honors with regards to arrangements, and his early classical training certainly shows. In the ballads the manner of orchestration is reminiscent of Ray Ellis, and is lovely in every respect - one finds uses for distant operatic vocalizations, large choirs, lush strings, and colorful percussion. In the up-tempo numbers the scoring is in the typical mid 20th century South American style often heard in the halls of the 'Grand cabaret', where one heared an entertaining mixed-bag of many influences - big band, exotica, samba, classical, tropicalismo, and spanish. The conducting is more than appropriate for such music, recorded under the skilled direction of Bouillon, as well as Jean Claudric (for tracks 10 and 13).
   
   The album starts off with "Paris Mes Amours", the opening chanson from the show of the same name, which has Baker's voice at its most grandiose and powerful, with giddy accompniment very much in the style of the old music-hall. "Le Marchand de Bonheur" is a typical latin-influenced selection from the revues La Baker put on in the 1950s and 60s, complete with scantily clad back-up singers and dancers singing "La La La..." at the top of their lungs. "Moi 'io'" is a beautiful, easy number in a bal-musette style, and includes an instrumental break that can make anyone long for the city of Paris. "J'Attendrai" is wonderful - a march with back-up from bass clarinet and triangle (Baker often taught her audience how to do the 'twist' to the opening bars of this chanson). In "J'Attendrai" she sings in a rather deep contralto style that can amaze anyone who has ever heard her early recordings. Next is the wonderful "Avec", with its samba rhythm and maraca accompaniment, along with some rather complex arrangement for brass. Baker usually included this song as the first number after the overture in the shows of her later years and usually in a slow-tempo arrangement straight out of the Cuban Tropicana (the album "En La Habana" includes a far superior version of this song). "Donnez-Moi la Main" is a spanish-virtuoso number sung in french, in which La Baker takes on the role of a Gypsy telling someones fortune. Baker included this number in many of her shows wearing a wonderful gypsy costume. "Je Voudrais" is a delicate chanson with more intimate vocals from Baker, and "La Seine", set to a waltz with touches from accordian and a distant operetic vocalist, has Baker singing of the famous River in both french and english. "Sonny Boy" is taken from the old musical "The Singing Fool", and is 1 of only 2 tracks sung entirely in english. Baker's cover of Edith Piaf's chanson "Sous Les Toits de Paris" is another easy number with gorgeous vocals and arrangement, and "La Ballade des Rues de Paris" is yet another ode to Paris. "Mon P'tit Bonhomme" is a sparkling waltz in the Viennese style, with colorful accompaniment from glockenspeil, celeste and sweeping strings. "En Avril A Paris", which Baker also sung as "April in Paris", is a sweet sentimental hymn to the city of lights, sung in both french and english. "Sag Beim Abschied Leise Servus", sung in german, is another lovely ballad with a superb backing from a large choir. "Don't Touch My Tomatoes" is a charming number that is something of a cross between a 1950s pop hit and a song worthy of Carmen Miranda.
   
   "The Fabulous Josephine Baker'" is one of only two albums one can easily obtain on disc of La Baker in her later, best years. The other is "En La Habana", recorded in Havana, Cuba in 1966 when Baker was invited by Fidel Castro to perform at the Teatro Musical de la Habana. This recording includes Baker's "Dans Mon Village", as well as great renditions of "Quando Quando" and "Esto es Felicidad". Also included on "En La Habana" is a knock-out performance of "Avec", with Baker singing at her absolute best with the seductive Cuban orchestra. Another album with some essential recordings of Baker from circa 1950-1970 is "C'est vous", which includes many of the latin-styled selections Baker favoured in the 1950s. There are two essential live albums that have recently been re-released onto CD in Europe - "Josephine Baker in Tivoli", which was recorded during Baker's 1963 show at the Tivoli Gardens in Copenhagen, Denmark. This recording was only available on an out-of-print LP for many years (a decent copy of the original LP can go for $100). Baker's last show, the spectacular "Josephine a Bobino 1975" has been re-released on disc 3 times, and is currently not in print, though one can obtain the original 2 LP release through online markets. Hopefully the 1973 recording "Josephine Baker Recorded Live at Carnegie Hall" gets a re-release as well (it was released onto CD in France in 1995, but it is not in print). Although this recording was unfortunately made while Baker was terribly hoarse, her wonderful audience interaction and the fact that they lovingly applaude her every move more than make up for it. There are also two recordings Baker made in the 1960s which have yet to turn up on disc - "Chante l'amour" is divine in every respect, while "Chante Paris" includes some wonderful french chansons that will remind anyone of Paris.
   
   The cover photograph of "The Fabulous Josephine Baker" by Levene is a great visual representation of who Baker was in the latter part of her career - wearing a magnificent glittering form-fitting gown, all topped off with an eleborate head-dress straight out of the Folies Bergere that even puts Bob Mackie to shame, looking radiantly beautiful, with her big, trade-mark smile. If only this album could give one the astounding visual of the great Josephine Baker live on stage descending down a staircase with her grandiose costumes, surrounded by her sexy back up dancers and singers, hitting her amazing high notes with her rich, smooth, mobile voice and chanting to the world of the glories of Paris. She was truely a Diva of Divas, and the greatest modern pop stage performer the world has yet seen.



3. THis CD, The Fabulous Josephine Baker, is an excellent example of what she had that made her perhaps the top female performer and singer in France for more than thirty years.
   
   If we think of her as an Ameican singer who happened to live and work in France, we won't get it. What Josephine was, was an expatriate singer from the United States who became in a short time one of th best, certainly, and even possibly the very best, French - Parisian POP singer of all time. She was a French singer, therefore, and because American Xenophobia doesn't allow for any other people at any time or from any country to possibly compete with and surpass American performers -- basebqll teams that win the world series are "world champions" though they never play internationally; heavyweight boxers, when they win the title, become "World champions" though mostly they only fight other american boxers -- Josephine Baker is not, and could not be considered more than a novelty in the USA. Her vocal production was usually called "reedy" and affected. But, to the French, her voice was, in its way, as French as Piaf's or de Lisle's or Mistinguettes, or any of the other singers of the time, because to sing in French, well, you must produce a sound that is compatible with the consolants and vowels of the language. That's why virtually all French singers (of both sexes and all disciplines) sound the way they do. They sing for a descriminating French audience.
   
   Piaf the Tragedienne, is most familiar to Ameicans mostly because of her distinctive nasal burr. Americans don't like Tragic songs, except in the Country/Western context, but accept it in Piaf because Piaf is almost all they know of French POP music. Jo Baker they seldom heard, and only with Jim Crow shame. But Baker personifies an aspect of French culture that is unique in the world; she is the spirit of Paris; the fun, the excitement, the joie de vivre that one feels just being there. She stands on the Eifel Tower the way an angel stands on the tip of the Christmaqs tree, waving her arms and legs, smiling that huge smile of hers and hitting those amazing high notes, welcoming everybody around the world, to the City of Light, to Paris.
   
   I strongly recommend her En Avril a Paris: check out her English-language choruses and riffs. In Moi, she appears as Shirley Bassey's mom; so hot! So brassy! So big Nightclub! Paris mes amours is wonderfully giddy and gay; something right out of a Follies production, with a chorus of half-dressed boys and girls singing their hearts out; all buttocks, thighs and navels. My particular favorite is, I think, Avec; a Brazilian Samba, with chorus. It's fun to listen to. So's the whole album. The woman had such range. Her voice is by far, the most athletic, flexible and pitch perfect and secure of any of her generation, and certainly of ours. The babe had pipes.



4. Impossible for any Josephine Baker collection of songs to be anything but 5 star! Buy, listen,and enjoy.



5. Giddy Can-Can type chansonettes, soulful ballads, Edit Piaf-esque hymns to Paris, Josephine Baker, at the peak of her vocal powers, delivers them all with consummate mastery and apparent ease. Her rich, creamy mezzo and rapid even vibrato are the perfect vehicle for these chansons, and her timing and dynamic expression are impeccable. Far from the twittery interpretations of her early recordings, these songs are the works of a mature master.

   Sure, some of the orchestrations and arrangements are corny, but that's the style of the period, and it's great fun. One or two times of listening to this, and you'll be humming happily along.

   To those who have never heard Josephine's later recordings, she may at moments be reminiscent of a more fluid, powerful and infinitely happier and more mellow Edith Piaf.

   The recoding engineers have done an admirable job of transferring this early stereo work to compact disc. While this recording does not offer the sonic depth of a contemporary recording, it nevertheless delivers everything with great clarity and negligible distortion.

4 comments about Torch Songs.

1. Torch Songs is yet another excellent CD of great torch songs performed by some of the greatest songbirds who ever lived. We are all better of for their sharing their gifts with us. The quality of the sound on this album is excellent; and the artwork reflects good taste.
   
   "Autumn Leaves" gets a very sensitive treatment by Eva Cassidy; Eva sings this with all her heart and soul; and just one listen proves it! This is certainly anything but elevator music or muzak. The guitar playing that accompanies Eva as she sings fits in perfectly with Eva's vocals--great! The great Ella Fitzgerald also turns in a wonderful performance of that famous Gershwin tune entitled "But Not For Me;" Ella's voice is like silk and naturally she never misses a beat. Ella also gets to show of a bit of her operatic qualities of her voice on this tune also. There's also Patsy Cline's huge hit entitled "Crazy;" "Crazy" features Patsy front and center--and she doesn't waste a minute as she delivers this with panache. Ooh, how wonderful this is!
   
   Julie London also does a magnificent job on what was a very famous song for her, "Cry me A River." Julie sang this so well that many people said that this was her song; and I'm inclined to agree entirely! Julie sings "Cry Me A River" with all her might and the effect is extremely elegant and moving at once. In addition, Carly Simon sings a fin rendition of "I Got It Bad (And That Ain't Good);" Carly's voice is warm and very vibrant as she sings this torch song really right!
   
   Listen also for the great Dinah Washington to do a fine crossover hit for her, "What A Diff'rence A Day Makes;" Dinah sings this to perfection--and beyond! The chorus bolsters her performance but make no mistake about it--Dinah never needed a chorus to support her. Dinah sang so well that I could never forget her; and you owe it to yourself to get a CD by Dinah Washington if you don't own one already.
   
   Diana Ross performs "Lover Man (Oh, Where Can You Be)" with heart, soul and all the style of a great diva; the musical arrangement includes some mighty fine piano playing which serves to make this an elegant torch song. I love it! The immortal Edith Piaf also weighs in with her classic "La Vie En Rose;" Edith could make any song seem like a gorgeous melody, all fresh and new; and when Edith sings this the English lyrics are particularly beautiful.
   
   Judy Garland sings "Over The Rainbow;" this mid 1950s interpretation of "Over The Rainbow" features a more mature Judy with a very full, rich voice. The CD also ends strong with Ketty Lester performing "Love Letters." "Love Letters" has a fine piano arrangement and the percussion marks the beat very well. Ketty's voice is charming and "Love Letters" makes a fine ending for this album.
   
   Overall, Torch Songs is an album you can't afford to skip if you like this genre; and lovers of classic pop vocals everywhere will want this CD, too.



2. Great songs and great singers, but really not the best recordings in a lot of cases. This will make you wish for the better recordings you know you've heard, and not really increase your respect for some of the singers.
   Also, most of the tracks are very slow - mellow and bluesy. Not really what I think of when I hear "torch songs", nor is "Somewhere Over the Rainbow."



3. A torch song is a senitmental love song, usually about an unrequited love. The 18 songs on this album offer some of the best examples of this beautiful type of music with a wide range of female singers, from Ella Fitzgerald, Judy Garland, Lena Horne and Peggy Lee to Linda Ronstadt, Aretha Franklin, Etta James and Carly Simon. All the songs are classics, including Dinah Washington's "What a Diff'rence a Day Makes," Lena Horne's "Stormy Weather," Patsy Cline's "Crazy," Linda Ronstadt's "My Old Flame" and some signature songs, as well, such as "La Vie en Rose" by Edith Piaf and "Over the Rainbow" by an older Judy Garland. When these ladies sing, you can feel the love and the pain in their voices. A truly wonderful CD that is highly recommended to all music fans!!



4. If you love Nora Jones & torch music, then you will love this one and want to add it to your collection.

1 comments about Marlene Dietrich Album: Live at the Cafe de Paris.

1. Of course I am a "Marlene" fan but this is a most enjoyable collection of her songs and also the introduction by Noel Coward is so well spoken.It is interesting to note her later change in style when working with Burt Bacharach.This is a great CD.