No comments about Olympia 1961.

No comments about From This Moment On: The Songs of Cole Porter.

5 comments about James Last - The Gentleman of Music.

1. James Last has been an institution in Europe for decades, but his music never really caught on in the US. Now, however, with the help of a recent PBS special, Americans are discovering what most of the rest of the world has known about for years: that Herr Last is a master of music that transcends all generations! I spent two years in Germany and during that time, I amassed a large collection of James Last's albums and CD's. Each of them is a joy to listen to. From lush strings to bright brass, you can always expect music that appeals to everyone. This CD shows off the many moods of Herr Last. "Biscaya", which is heavy on accordion, imparts a feeling of being on a beach in the Riviera. The classical pieces have all been modernized to appeal to all. This is also a good way to get those who haven't had much exposure to classical music interested in the genre. All in all, a fun CD to listen to. On a technical note, this CD has been remastered in "digital surround". If you play this disc on a home theater system, it is best heard using the Dolby Pro Logic mode. It also sounds great in regular stereo, giving even wider separation than a normal stereo recording. Now, if we could only have some James Last in DVD-Audio...



2. James Last is my inspiration as I work at my Computer. Just put the CD in and work away! Makes work pleasurable. Saw his video on PBS and I was captivated! What energy! What wonderful balance! What joy! Am purchasing additional copies for gifts and other albums for my collection. Thanks, James Last, for providing this wonderful music.



3. James Last's music is beyond words. His musical tempo, his diversity of style is just uplifting and deligthful. I can listen to this CD all day long.



4. I recently saw a special on NJN with James Last. What a thrill. I will certainly say that he is now one of my most preferred. My boyfriend and i were up and actually dancing to every song, be it fast or slow. It made the night incredible. A must have. I do dislike the fact that this is not available on video...truly half the fun.



5. After we saw James Last on PBS we are hooked on his mucic As far as we go he is the best

No comments about Master Serie Volume 2.

5 comments about Together Again.

1. The first Bennett and Evans duo album, recorded in 1975, was a highly successful collaboration, and `Together Again' is a worthy successor with the same impressive qualities. It's another imaginatively chosen programme, sung with such commitment and sincerity that even those lyrics which are relatively uninspired are invested with meaning and feeling. A good example is "Make Someone Happy": on paper the sentiments would look trite ("Make someone happy... then you will be happy too", etc.), but Bennett sings them as if they are profound truths.

   As with the first album, listeners will discover their own favourites. For me the standout numbers are the classic blues-tinged ballad, "You Don't Know What Love Is", "Make Someone Happy", "Lucky to Be Me" and "You Must Believe in Spring". The latter is a particularly affecting performance; it's one of the better, more poetic lyrics and the melody is a typical piece of tuneful Gallic romanticism by Michel Legrand. Bennett sings it quietly, with great tenderness and wistful feeling. As a kind of prelude to the `recital' of songs, Evans begins with a lyrical piano solo - a movie theme "The Bad and the Beautiful" (by the composer of "Laura") - demonstrating the beauty of his touch and tone and setting up the warmly romantic atmosphere of the album.By the way, this version on the Rhino label is the one to buy if you want value for money, as it has alternate takes of the original tracks as well as two bonus tracks.

   * On the subject of "You Must Believe in Spring": there's a wonderful Bill Evans Trio album of that title - it's one of the most beautiful jazz piano albums ever, and ought to appeal to anyone who likes the Bennett-Evans collaborations. Again, the version on the Rhino label has bonus tracks: three further pieces (not alternate takes) recorded at the sessions but previously unreleased and well worth having.




2. This album is one of the prettiest things i've have ever been privilaged to hear. Tony and Bill Evans make you want to cry the songs are done wonderful and bill evens arranging is a masterpiece the only thing I didn't like was on some of the tunes Tony was singing WAY TO LOUD and over powering the piano. My favorite track on this album is "You Must Believe In Spring" Tony sings just right and Bill Evans plays [great]. I like this album alot and Iam telling anyone who Likes Tony Bennett or JAZZ to pick up this masterpiece.



3. This is singing at its very BEST.
   
   I have always admired Bennett's sheer guts (not to mention CHOPS) The man is as fearless as Pavarotti in going after the big notes, but NEVER at the expense of a lyric or sentiment. And, as with Pavarotti, Bennett is impeccable in his choice of material.
   
   These songs, as well as those on the first collaboration, are American popular classics-- the finest of their genre. Many of them are rarely heard today.
   
   I'll be hit hard as "not helpful" by the Bill Evans worshippers, but I prefer Bennett's singing to Evan's solos on both discs, with the exception of Evans' solo piece, "The Bad and the Beautiful." IMO, on these discs Evans plays best when he's backing Bennett. Solo, I find him a bit lounge-lizardy at times. Granted; he's had so many imitators since that it's hard to keep in mind that he was an innovator in his day.
   
   Unlike many, I like the first recording every bit as much as this second collaboration.
   
   A MUST for any jazz collection.



4. As an ardent champion of both Bill Evans and "the great American Songbook," I purchased the first Evans-Bennett collaboration, only to be somewhat disappointed in the final result--an incomplete, ultimately unsatisfying "compromise" between two inimitable voices and a rather bland middle ground between the worlds of quality pop and acoustic jazz. This second session, recorded more than a year after the first, is not only of a higher aesthetic order, but the CD version, with additional tracks and alternate takes amounting to nearly two hours of recorded music, is a particularly instructive recording and undeniable value.

   The congeniality and accommodation on the part of both artists is highly evident. Evans' playing is more extroverted and fully textured while Bennett's trademark enthusiasm and sincerity are tempered by more thoughtful, text-centered readings of the songs. At times, in fact, it sounds as though Bennett is trying too hard to match Evans' romantic lyricism and passionate intensity, as on the alternate take of "Make Someone Happy," where his "over-reaching" leads to some sloppy vocal elocution, no doubt the reason for the rejection of Bill's inspired solo on the first release. On "You Must Believe in Spring," on the other hand, the two achieve a more successful result by going their separate ways. Bennett keeps the entire lyric carefully contained, singing "sotte voce" all the way, while Bill quickly becomes engaged in complex, building, emotive rhapsody during his solo turn.

   Not content to stop with a comparison of original tracks and alternate takes, I did side-by-side analyses of some of these tracks and the same tunes on Jack Jones' recent tribute to Tony Bennett, an album which finds the "new" Jones accompanied by the Bill Evans-influenced Mike Renzi. It's a bit of a stunner: Jones brings to the songs an interpretive depth and maturity along with story-telling phrasing and full-bodied, consistent vocal texture that Bennett, for all of his well-intentioned honesty and bel canto upper-register tones, cannot match. Comparing the two of them on "Who Can I Turn To" is like comparing a Streisand to a Billie Holiday. Bennett may temporarily impress you, but Jones evinces the chills and tears, the sadness and wisdom, that leave absolutely no doubt which is the real thing.

   Few listeners, including fans of the "old" Tony Bennett or Jack Jones, still have ears for interpretive subtleties of this kind, especially in the genre of "popular" music. And sadly there will be no Jack Jones-Bill Evans album, all the more reason to pick up this one.




5. ...and that's saying something, considering that I'm a jazz percussionist, and not a pianist or a vocalist. I bought this album after years of loving the first Tony Bennett/Bill Evans Album. It's got all of the subtlety, sensitivity, and intensity of the first one-- and Bill and Tony recreate that symbiotic relationship they had in '75 perfectly. I say this one's my favorite, but there's very little difference for me between the two albums besides repertoire. The songs here are choice, and many are quite obscure. The first track with vocals, "Lucky to Be Me," has a happy, optimistic, (but not sappy,) vibe that is matched on the last track, "Dream Dancing." In-between there are tracks that feel like pure love, ("You're Nearer," "Make Someone Happy," and "A Child is Born,") and others that remind you what it feels like to lose love. ("Who Can I Turn To," "You Don't Know What Love Is," and "Two Lonely People,") The other tracks speak of loss, but also of hope. (Like "Lonely Girl," "Maybe September," and an incredibly haunting version of Michel Legrand's "You Must Believe in Spring.")

   The only one I left out was the vocal-less theme from "The Bad and the Beautiful." Very hip, starting out a piano-vocal duet album with solo piano, especially if your pianist is possibly the greatest solo player ever. But Bill is not the only huge talent shown off here. Tony Bennett is often thought of as a lounge singer, a pop singer, or an 'Italian crooner.' He can be all of these things, but the power he displays on the endings of "A Child is Born" and "You Don't Know What Love Is," and the advanced concept of harmony that he must posess simply to sing the melody of "The Two Lonely People" show that he is much more than a Rat Pack alternate.

   Having almost the entire album over in alternate takes may seem like overkill, but each extra track gives us insight into the way the duo worked together, and the second version of "You're Nearer" brings us the song's simple but sweet verse.

   This album and its predecessor are great examples of two master musicians communicating on the highest of levels. This one is beautiful in that it offers plenty of musical moments that will knock the most advanced musicians' socks off, and yet the beautifully sung and played messages in the wealth of great lyrics can touch everyone.

No comments about Confessions.

1 comments about At Last.

1. Caught Phyllis in NY and in Greece where she has become "an icon of Mykonos." Her live performances are the most amazing way to appreciate her talents, but this CD gives you a good idea of what an incredibly versatile diva she really is. Buy it now. You'll love it ... and learn why so many cabaret devotees love her!

No comments about J'arrive.

2 comments about Then Along Came Bill: A Tribute to Bill Evans.

1. I love the fact that on this recording her voice sounds well travelled....it makes you get in touch with the songs and the singer even more. I have since listened to one of her earlier recordings and granted her voice is much smoother but this one really tells you that she has lived the songs she sings....
   
   For those who love the real deal in jazz singers this lady sure was one of them.......



2. I first became awared of Sylvia Syms back in the late 1960's, and found her husky singing quite seductive. I have close to a dozen of her LP's, and quite a few of her CD's. This album was recorded toward the end of Ms. Syms' career; and, sad to say, the lustre of her earlier recordings is no longer apparent. Listening to her as she valiantly struggles from one song to the next is almost painful. As fond as I am of Sylvia Syms, I cannot honestly recommend this album to any but the most die-hard of her fans.

No comments about Bon Anniversaire Charles: Live au Palais des Congres 2004.