No comments about Paris En Chansons: Songs of Paris.

2 comments about L'Homme De La Mancha.

1. This recording of Brel's French translation of the Broadway hit "Man of La Mancha" takes an excellent score to new heights. Richard Kiley's performance on the original Broadway cast recording took the song "The Impossible Dream" onto the pop charts - Brel's version is even more dynamic and inspiring.

   But this is much, much more than just another name on the Jaques Brel fan club discography. Joan Diener played Aldonza in both versions - and her much more intense performance on this album tells me the Brel production was directed far better, both musically and artistically. All the performances on this album are better than the Broadway - and the Broadway show was top-notch (we don't even want to *think* about the movie soundtrack- it was horrible, with non-singers and bad actors in all the roles).

   Brel's translation is true to the original, with two exceptions. "Un Animal" takes Aldonza down to a much more raw, bestial level than the original "It's All The Same", and the filler fluff song "Little Bird" has been re-worked into a more pertinent "Sans Amour", though it's still filler.

   The addition of the Knight of the Mirrors (Le Chevalier Aux Miroirs) scene, missing from the Broadway album (but not from the score), adds depth.

   This is possibly the best foreign language adaptation of a Broadway musical ever. If you are familiar with "Man of La Mancha" in English, this recording will impress you, even if you do not speak French. Brel and Diener and the cast give landmark performances.




2. I have never heard or seen this musical in nature, so I wasn't sure, how it would work on a record, but I was pleasantly surprised. Music is well recorded, songs tell a story and of course, Brel is magnificent. Listening to his voice is like seeing everything happen right in front of one's nose. The only fault in him is that he outshadows completely the other performers... If I should compare this to other Brel-CD's, I'd call this interesting, rather good - Brel shows, that he was a born performer - but in comparison to his own songs the music isn't as strong and original. Still: very much worth listening!

2 comments about One Day at a Time: An Anthology of Song.

1. I recently listened to Lena Martell sing One Day At a Time on satellite radio. I really liked her and ordered her two CD 40 song Anthology from Amazon. She sings country, pop, gospel, and jazz and does it all well. Her clear voice breaths life into old songs in the best easy listening tradition. She is like that other great export from Scotland, whiskey, smooth and mellow. The technical quality of the recording is also top notch. I highly recommend this CD.



2. Lena surprised the pop music world by taking her cover of One day at a time (an American hit for Cristy Lane) to the very top of the UK charts. It was her only UK hit although her albums always sold well when she was at the peak of her popularity in the seventies and the early eighties. Lena wrote the occasional song but mainly recorded covers of classic songs This anthology focuses on her covers of classic songs. The first CD generally consists of pop songs while the second CD generally consists of country and gospel songs although the division is not quite that clear-cut - for example, You needed me is on the first CD while Bridge over troubled water is on the second CD.
   
   On the first CD, you will find Lena's versions of such classics as Without you (Nilsson), You needed me (Anne Murray), Killing me softly, First time ever I saw your face (both Roberta Flack), When I need you (Leo Sayer), If (Bread - a UK number one hit for Telly Savales), Softly as I leave you (Matt Monro), Send in the clowns (Judy Collins) and The way we were (Barbra Streisand) among others.
   
   On the second CD, highlights include I'm gonna be a country girl again (Buffy Sainte-Marie), Take me home country roads (John Denver - a UK top twenty hit for Olivia Newton-John), Six weeks every summer (Dottie West), Bridge over troubled water (Simon and Garfunkel), Why me lord (Kris Kristofferson), Old rugged cross (a traditional song that became a UK hit for Ethna Campbell) and, of course, One day at a time.
   
   Because Lena mostly recorded covers, her appeal is likely to be limited to those who are already familiar with her music, but if you are one of those people, this is easily the strongest compilation yet released on CD.

5 comments about Wind from the South.

1. Ok, so English is not her first language. I still dig her style, and I think she makes up for the linguistic shortcomings in her spirit and purity of voice.

   One of the better albums I've bought this year, and one certainly worth buying.

   To be honest I wish she'd do a Spanish-only Jazz Cd. Can't understand half of what she's saying, but DAG NAB it sure sounds good!

   Claudia really does have a great voice, and I will be looking forward to new material from her.




2. I recently had the chance to see Claudia at The Bistro in St. Louis, MO. She was WONDERFUL. Claudia along with Robin Ubanks were amazing, everything blended into your soul that you couldn't help being transported by her voice as the music flowed right through you. The whole band just took you into the moment.

   Claudia's voice is so full as she just sings from her heart. Hope you will get a chance to experience her music as I did.




3. I have listened to this cd with great plesure, this lady has a wonderfull sound.Also the arrangements from the tunes are great. The only thing that she really has to work on is her timing, for example in prelude to a kiss,in this tempo she should have taken the chance to phrase it much more relaxed than she's doing now, she is phrasing to stiff.She has more pop phrasing than jazz phrasing.
   The arrangements and the sound of her voice makes this cd verry personal.



4. I have listened to this cd with great plesure, this lady has a wonderfull sound.Also the arrangements from the tunes are great. The only thing that she really has to work on is her timing, for example in prelude to a kiss,in this tempo she should have taken the chance to phrase it much more relaxed than she's doing now, she is phrasing to stiff.She has more pop phrasing than jazz phrasing.
   The arrangements and the sound of her voice makes this cd verry personal.



5. Inspite of the insipid review posted here stating that this singer has a Pitch problem (with a capital "p") I would say that the main problem with the album is the fact that the songs are arranged erratically and the selections are ill-conceived. I think that this album will definitely grow on you as you get the chance to listen to some, not all, of the songs and appreciate them individually. If you give yourself a chance you may come to like it, but you have to buy it first. Don't count on small samplings or advise from others.

1 comments about Blue Billie.

1. This is classic Billie Holiday but it's not the blues. It is remastered from the original and it sounds it. A lot of sax behind her and honky tonk piano orchestrated during the 30s. Billie is not Sarah Vaughan or Ella Fitzgerald. But she has a flair for "swing" music. There are some classic love songs on this album sure to bring about nostalgia. "Body and Soul", "Night and Day" are examples. If you want 30s "swing", this is the perfect album. The lyrics come right on through.

4 comments about The MGM Album.

1. My interest in Michael goes back to the mid 80's, when he first went out on his own. I have most of his cds and really enjoy his voice. The concern I have for this cd as well as his other cds is material content. Michael usually does't choose the songs that I enjoy listening to. He chooses a repertoire that is not necessary the big hits of yester year. One thing i'm certain of is that Michaels' voice always sounds good on all songs.

   With the voice of Michael on the so called great songs, I think that he would have one great cd after another. Perhaps he should take my suggestion and try this new approach to song selection. There's really nothing to loose and a lot of gain.

   Recommendation: I can not recommend this cd.




2. I loved the way Michael Feinsteiin sings the old MGM songs, especially the ones from "The Wizard of Oz". His way with all lyrics on this album is great. I give it a thumbs up and look forward to possibly another MGM album or two in the future of the songs he could not do on this one. My opinion is he should keep up the great work!!! I LOVED IT1



3. Michael Feinstein is a true performer and he knows how to put over a show tune. His stage type voice and his amazing control make these songs hits again! I have this album on tape but just had to have the CD.



4. Michael Feinstein sounds great singing these great MGM songs! Great selection of upbeat and slower songs! Highly recommend this album!

5 comments about Noel Coward Songbook.

1. I bought this CD after reading the reviews, asking if it is a wise choice. I love Ian Bostridge art, intelligent artist, great singer; I admire Noël Coward works, intelligent, caustic. But I was not sure of the mix of both.
   After hearing it, I still have mixed opinions but I like it. Bostridge singing is, as usual, pristine,and his approach (as he pointed out on the album notes) is probably closer to Weill than Coward. Don't know if that is a right choice but it is valid as an artistic proposal.
   Also, in this kind of albums I always miss the orchestral support. Jeffrey Tate sounds good at the piano, but a little weak given the fact that this is music for the stage.
   Anyway, the album is good because it is not common to find the work of people like Coward. Also pay attention to Sophie Daneman's interventions, a beautiful voice that deserves more.



2. I was bitterly disappointed in this CD, and after playing it a few times it went permanently back into the cabinet. Bostridge is very mannered to his approach to Coward. When i was an undergraduate, I wrote my bachelors honors thesis on Coward, and consider myself fairly well-informed on the subject. I like several of his plays, his short fiction, and his (alas, not too-well-known) poetry. However, I can't abide his singing, I think he was an overrated and shockingly egotistical actor, but a glorious songwriter. Normally I despise crossover, but at 15 -41 years ago -- I bought "Joan Sutherland Sings Noel Coward" and after wearing out two lps found it in London on CD 10 years ago. It remains incredibly beautiful, witty, and filled with gorgeous Richard bonynge orchestrations. i would advise everyone who thinks they hate crossovers altogether to hunt this one down.
   Does anyone want, free, Ms Renee Flemings crossover work? She should track them all down and burn them, as they are dreadful. The only other crossover opera singer i have enjoyed is the British soprano Sally Burgess, who is truly comfortable on the opera stage and crooning standards.
   mitchell



3. OK! IT'S NOT OPERA. BUT IT'S STILL BOSTRIDGE!
   
   I have always admired the nonchalant and somewhat dry humor of Noel Coward lyrics, not to mention the interesting twists and turns that his music often takes, I admire Ian Bostridge for attempting his songs and doing a "bang-up" job of it!
   
   A quote from Ian Bostridge prior to making this recording:"My first concern while contemplating a disc of Noel Corward songs was finding a voice for them,,,,,,We need to remember that, in Coward, we have not only a formidable playwright and screenwriter, but also the English equivalent of Irving Berlin or Cole Porter". After I heard this from Bostridge (on an interview on ABC) I began to appreciate the songs much more than previously. There is much philosophising going on as in "I Travel Alone" and some are quite humorous as in "Mad Dogs and Englishmen". One has to listen more than once to get it all, but it's worth the time. And I definately think that Ian found the voice to sing them.Do I prefer Bostridge singing classical??Of course!!!!!But I still enjoy a break now and then and I'll take this disc for that reason.



4. I must say that I approached this album as a fan of Ian rather than Noel Coward (and admittedly still don't really have a good idea of who the man is). So in terms of Ian's singing, I like it a lot. He has a wonderfully dextrous voice and a clear tone, complemented by Jeffrey Tate on the piano and the soprano Sophie Daneman for several numbers.
   
   Generally I find myself unable to appreciate the work of classical singers who do crossover albums, but Ian is an exception. It has been said elsewhere that he may lack a robustness in his voice, but here in fact, one would not wish for an overpowering tenor. He isn't at all overblown, unlike many other singers in crossovers. The lightness of his voice lends a kind of intimacy to these recordings, as if he were singing in a café or an at-home musical evening.
   
   The material is, of course, a departure from Schubert, &c., but he handles it well. However, I do think that he has a better emotional feel for the 19th century German romanticists and the 20th century British classical composers (i.e. Britten). This recording is pleasant but it seems to me to lack the emotional depth of Ian's Schumann in particular - a perceived deficiency that might lie with the composer Coward rather than the performer.
   
   I like to listen to this CD when I want to listen to Ian sing, but am not in the mood for his more serious/depressing recordings (a la Schubert & Britten). The lyrics are pretty inane, the same goes for the songs themselves - melodically speaking - but Ian makes them special. So four stars.



5. I love this CD. I have a collection of Noel Coward performing his major songs, and I found it entertaining, but frankly I was never much drawn to it after the initial novelty wore off. I never really appreciated Coward as a composer because his campy persona and limited vocal talents got in the way. I bought this CD as a gift for a big Coward fan, and I am ashamed that I have not yet given it to him because I enjoy it so much. Bostridge is a really fine tenor. The beauty and subtlety of his voice bring out the beauty of Coward's melodies and the wit of his lyrics without overwhelming them with a heavy and mannered "classical" style, which is the bane of most such "crossover" CDs. The CD is also beautifully recorded. Outstanding songs include "I Travel Alone," "Parisian Pierrot," "World Weary," and "A Room with a View." Bostridge also has just the right touch with the goofier songs like "Mad Dogs and Englishmen," "Something to do with Spring," and "Any Little Fish." I highly recommend this CD to anyone who enjoys witty cabaret songs in general and Coward in particular. It really did give me a new and greater appreciation of Coward's considerable talents as a composer.

No comments about J'ai Deux Amours.

2 comments about Josephine Baker.

1. Good 1920's hot jazz singing and sophistocated 1920's cabaert torch singing. Great versions of Pretty Little baby and the timeless Hello Bluebird!!!



2. This is one of the best albums of all time...it send you into the 20's in Paris. It's full of silly songs both in French and English. There are so many songs you never get tired of it!

2 comments about Jazznavour.

1. I am an avid "jazzer" and recently found a love for French music. This CD combines the softness of the classic French style and the addicting jazz flare to create a very nice CD for any kind of music lover. I am also EXTREMELY impressed with the speed of delivery and care put into packaging. Thanks amazon.com and I look forward to my next purchase!



2. As a 26-year fan of "grand petit Charles", I was curious to see how he would arrange his songs as "jazz". I find the CD imminently enjoyable listening. The arrangements get you dancing in your chair. My favorite is "For Me Formidable". It is incredibly difficult to write in a foreign language, and the way Aznavour mixes French and English in the same song is just TOO COOL!!