5 comments about The Wham of Sam!.

1. " Sammy Davis Jr. was the greatest entertainer I ever saw " so states Tony Bennett. And who am I to disagree with a singer who has probably forgotten more about music than I will truly ever know. Sammy Davis was, by all rights, probably in that rare echelon of singers along side Sinatra, Bennett and Mel Torme who was the "singer's singer. " An entertainer who other singers would stop by and catch his act after finishing their gig at another local watering hole. And who could blame them? Sammy was that rarest of entertainers. A jazz singer who was just as comfortable in a lounge/saloon doing standards as well as knocking out versions of current popular songs as well. Something that even the formidable Mr. Sinatra couldn't always pull off. Plus, with the release of " The Wham of Sam " a disc that fortifies my feelings that other than the other singers mentioned above, Sammy simply had few peers.

   The Chairman of the Board ( Sinatra to the uninitiated ) once called it " phraseology. " That type of singing that required the vocalist to dig deep into a song's subconcious and pull out everything he's got. Making the song his. And God know's Sammy had that knack! Starting off the CD with an incredible rendition of " A Lot Of Living To Do " Sammy takes the song and is off and running. Uptempo, swinging and making you believe he really has gotta a lot of livin' to do. And we just want to go along for the ride. " Begin the Beguine " with just a mean set of percussion ( who else could pull that off? ) and he's still in his element. Taking each song, feeling it's 'groove' never betraying the lyrics but simply understanding them and making them his own. A risk that no other singer I know could ever try...much less get away with! But fortunately Mr. Davis could also come across as quite the balladeer as well. " My Romance " is, at least for me, the definitive version of a song that I've heard done by countless other singers. The arrangements are sweeping ( thanks to Marty Paich ) but gentle, allowing the tune's heartfelt lyrics to come across as innocent and completely romantic. An amazingly poetic rendition that is simply too lovely to behold.

   There's simply not enough time to go into each songs attributes. But suffice to say that the wonderful disc shows Sammy doing what he did best. Whether he's swinging with " Too Close for Comfort " or " Let There Be Love ", getting sentimental but never maudlin with the lovely " Blame It On My Youth ' or just being Sammy with what I feel is his true signature song " Bye Bye Blackbird " he truly is a singer of uncanny abilities with a complete understanding of getting under a song's skin and making it his very own. Again, with phrasing that to this day still has me in complete awe and brings a smile to this listener. And always wondering " How does he do it? " Let's just call it instincts. In ending, part of what makes a singer stand out from the crowd of other vocalists is something that is simply intangible. You don't know what it is but you know when you hear it. And boy will you hear it on " The Wham of Sam " While ultimately Sammy was unable to develope a concious identity as a recording artist ( he was at his very best on stage singing, doing impersonations and dancing like no one else! ) we at least have these wonderful CD's to remind us what an simply gifted singer he really was. Thanks for everything and bye bye 'Blackbird.' You are missed.




2. Sammy Davis Jr ruined his reputation by playing the ultra-cool hipster with a 4-inch cigarette, high heels and day-glo feather boas for most of the 1970s. It's a shame he's most remembered as the target of Billy Crystal's rather lame humor, instead of as the incredible singer he really was.

   His versions of "Begin The Beguine" and "Bye Bye Blackbird" on THE WHAM OF SAM are classics, and, as the linear notes boast, Davis holds his own with a select group of jazz musicians.

   This is cigarette-and-whiskey Jazz, and a fine batch of it.




3. If you have ever seen him "live and in one", this will bring back your best memories. I liked this better than his Greatest Hits album. He does one number with just percussion, that worth the price alone (Begin the B)



4. This Cdis one of the best examples of a happy collaboration between a singer and an arranger.Sammy Davis is in top form as a Jazz vocalist and arranger Marty Paich,makes use of his "Tentet" sound with great musicality,Fantastic renditions of tuneslike:Blame it on my youth,Bye Bye Blackbird,Let it be Love shows Davis' swinging vocal aptitude along with Paich's West Coast smooth jazzy counterpoint.A marvelous CD.



5. I first heard this album while I was in Vietnam in 1964; it was a great link back home to the States. Although my tape copy has been missing for many years, I've always carried these songs and this title around in my head. Sammy's melodies are crisp and rich and his rhythms are always 'right on' in this collection.

   I came to AMAZON tonite specifically looking for this album. It was too easy; now if I can only find a CD with a track of Sam singing 'Back in Your Own Backyard' on it. I think that it was a cut on the original release of this album, but it's not listed on this release. I'm sure that it will surface eventually because it's got a great sound too.

   In any event, if you like this kind of music, you are guaranteed to love 'Paul Desmond - Desmond Blue', which has become available once again and is from this same era. And amazingly, it's only a click away here at AMAZON.COM [this is simply the spontaneous endorsement of a happy customer].

5 comments about Ruthless!: The Musical (1994 Los Angeles Cast).

1. I HATE MUSICALS AND I LOVED IT! I LOVED THE MAN FOR SYLVIA ST. CROIX!



2. I'll be a gun of a son! RUTHLESS! is a clever little chamber musical that many amateur theater groups can pull off. Scored for two pianos and percussion, costumed so that virtually everyone in the mostly-female cast looks like Joan Collins, and peppered with humorous (albeit tasteless) references to GYPSY, this show doesn't have one serious bone in its body. Throw in cameo appearances by a top-notch TV comedian and one of the supreme Broadway divas, and you've got a lot of high-caliber talent thrown into this frothy little show.

   Synopsis? Well, the liner notes are no help, I've never seen the show, and the web doesn't have much information. Here's my best guess, without giving too many surprises away:

   Suburban housewife Judy Denmark (Joan Ryan) is dull as dull can be, but her daughter (played by the absolutely amazing 8-year-old Lindsay Ridgeway) is the greatest song-and-dance sensation to ever hit the third grade. As Tina takes extreme measures to secure the lead in the school play, Tina's agent, Sylvia St. Croix (played by Loren Freeman in drag), asks, "where does Tina get her talent from?" Act I closes with a shocking revelation about Judy's own lineage that begins an awesome transformation in the lady who until this point in the evening has taken "mousiness" to a new level.

   The Act II plot twists are even more wacky, with a trip to the Daisy School for Psychopathic Ingenues, three generations of women extolling the virtues of vice, and lines such as, "Do you know what it's like ... fighting the urge to defrost your freezer?"

   And then there are the hilarious secondary characters! They include the school teacher "no longer afraid to get on with my life and off medication," the theater critic who does an uncanny Ethel Merman impersonation, and the personal theatrical assistant who makes us want to fasten our seatbelts in anticipation of a bumpy night.

   The music? Pleasant-but-not-memorable tunes with hilarious lyrics. Here are a few samples:

   Tina's view of death: "Why should I cry? I didn't get killed."
   Eve's tribute to patience: "I'll be waiting in the wings when Ginger snaps."
   A star's recollection of an acceptance speech: "I assure you the tears that I dabbed were not for the backs that I stabbed."

   The songs often clock in under 2 minutes, but the lyrics cover so much ground that the songs don't seem too short.

   In summary, RUTHLESS! is not your average musical. Loads of fun, but to enjoy the show to the fullest, you need to have extensive knowledge of musical theater.




3. Seriously! It is the most hilarious musical I've ever seen, and I've seen hundreds. The performances are hammy and right on the mark, the lyrics witty beyond belief, the tunes amazingly hummable, singable, memorable and actually among the most joyful you'll ever hear. Call it a guilty pleasure if you wish but it is just one of the best musicals I've ever heard and by far one of the most enjoyable. Just remember your sense of humor, don't get offended by the naughty subject matter, lay back, relax and enjoy, although you'll probably find yourself singing and dancing too. It is for most lovers of "traditional" musicals, but will be enjoyed also by non classic Musical lovers if they have previously enjoyed The Rocky Horror Picture Show! lol.



4. This halarious show is a must see for everyone! I have played the part of Tina Denmark and I just love the show. I am addicted to the CD- the music is unforgettable. Judy makes the transition to Ginger wonderfully. And Lita's 'I Hate Musicals' is a scream! This show has it all- murder, hatred, 'motherly love,' backstabbing, RUTHLESS TO THE CORE!!!



5. This halarious show is a must see for everyone! I have played the part of Tina Denmark and I just love the show. I am addicted to the CD- the music is unforgettable. Judy makes the transition to Ginger wonderfully. And Lita's 'I Hate Musicals' is a scream! This show has it all- murder, hatred, 'motherly love,' backstabbing, RUTHLESS TO THE CORE!!!

5 comments about Chrysalide.

1. Like many others, I recently discovered The Hunchback of Notre Dame DVD with Fiori, Garou and Pelletier. I had read some mediocre reviews of Fiori's first couple of CDs so didn't buy them, but took a chance based on the reviews of this CD and it is really a great CD! I've played it about 20 times since I got it in the mail. What a great voice and the songs are similar in style to the more current ones by Pelletier, who is excellent as well (as is Garou, who I finally got to see in concert and would encourage you all to see if you ever get to Canada or France when he is on tour).



2. Chrysalide is my favourite of Patrick Fiori's albums. I stumbled upon his voice in the _Notre Dame de Paris_ soundtrack (excellent as well, btw) that I picked up from my brother's college radio station clearance bin for arround $5. I stopped stock still when I heard Fiori's voice. WHO is that?
   
   I agree with everyone who says that this album is far better than _Prends Moi_. Artistically, _Chrysalide_ is light years ahead of the earlier one and really allows Fiori's voice to shine. The crystalline quality of his tenor combined with the heart... it's rare to find this quality of popular music. I'm thrilled his career is doing so well.



3. This is Patrick's first album that I listened to. I am glad that I heard this one before "Prends-moi". If "Prends-moi" were my first experience with Patrick Fiori, I would never have given him another chance. As far as essential Patrick Fiori repertoire goes, "Chrysalide" is the official first album. This is when we see the real Patrick. The first album is to commercial and superficial. His beautiful voice gets lost in all the synethetic sound effects. On "Chrysalide" he really shows his true self for the first time. It's Patrick expressing Patrick. Not Patrick expressing what his producers want him to express. In "Chrysalide" he plunges into philosophy, religion, patriotism. It's not just about romantic love. His tone is a perfect blend of melancholy and optimism. His voice appeals to young girls on a very archetypical level. This is what Prince Charming sounds like. This is the romantic hero that 7-year old girls dream of.



4. This is a wonderful CD-- Patrick Fiori has an amazing voice. He is incredibly good with putting emotion and expression into his singing along with being able to actually sing.
   You don't really need to understand French to enjoy this music, but I suppose it helps. I haven't been taking it in school for too long, so I obviously did not understand everything, but I still loved it!



5. This album is also great as well as "Prends-moi" and "Patrick Fiori.", the last one. "Terra Umana" shows the great power of his voice that can be romantic, sad, strong and mild at the same time.
   And in general this album shows his vocal capacity. He takes such notes!!! If you listened to "Etre la" (the second song), you would understand what I mean. All songs are really beautiful. They are the mirror of his soul. Definitely.
   I encourage you to but it weither you know French or not!!

4 comments about Broadway Divas.

1. Wonderful selection of classic singers and songs. Special favorites are Ethel Merman and Barbara Cook.



2. This is great. Anything with Ethel, Bernadette, Barbara (both of them), Mary, and Marin is beyond words. Any one of them by themselves is awesome but these ladies together are mind blowing. All of the women sound amazing but they made a mistake on the list of songs and composers. "Raise the Roof" sung by Julia Murney (I love her)was written by Andrew Lippa, not LaChusia.



3. The divas are indeed divine, but the choice of music sung left me wondering why, with so many other great music selection contenders.



4. OK, so it sounds crazy to review an album with Ethel Merman and Bernadette Peters on it and not mention them. But...tough. I've read enough about them to know how good they are.
   
   
   Buy this album as a token of love to the producer who had the cajones to put Julia Murney on an album celebrating the last 100 years of Broadway divas.
   
   Because SHE is one of the greatest voices of the decade!

5 comments about The Rocky Horror Picture Show: Say It! (Audience Participation Album).

1. Okay, I am a RHPS virgin. Never actually got to a showing. Never knew anything like this went on til after i got the DVD. Needless to say, I'm going to have to get to a showing sometime. This is just plain funny. If you are a fan of the movie, or just want to laugh, pick this up.



2. This CD is exactly what I ordered, It was brilliant, a fantastic recording
   with loads of atmostphere, don't hesitate in getting it!



3. this is for j.a. and all those who have read his review...NO, NO, NO...don't even think twice about this being outdated...this is the original, THIS is the one (and only) to have...now...i will state that, yes i am a big fan of rocky horror...in fact, i used to go when it all began at the midnight showings...the 8th street with sal, and the uniondale mini-cinema, where i used to perform frankie...and it was great...then, after years and years of waiting, this album came out (on vinyl), and it was great...then the cd...great...however, i recently (about 3 years ago) went to a showing of rocky horror...not so great...the audience didn't know what they were doing, except shouting, screaming, and, basically, having sex on stage...no one cared about the picture, no one cared about the nuances of tim curry's character, and frankly, i think for most of them (born way after the seventies), it was just an excuse to act like they would probably act anywhere else...it was something, but it wasn't rocky horror...not like rocky horror was meant to be...this cd...this cd is what rocky horror was, and shall always be, to any true rocky horror fan...now if you'lll excuse me, i think i have a run in my fishnets...



4. How dare you say that this be taken out of print and call it an embarrassment. From the sounds of it, you probably weren't even born when Rocky Horror began.
   THIS Audience Participation album is a TRUE reflection of what the show was all about when it became the cult phenomenon that is became.
   You cannot call yourself a true Rocky Horror fan and call this album crap.
   If it weren't for this "crap", as you call it, Rocky Horror would not be around today.
   I went to the show (and played in it) over 400 times in its prime. Then I made the mistake of going to a recent show and buying the new DVD.
   You cannot even understand what the audience says nowdays...they all just see who can scream the loudest and be heard. Had it been like that back in the 70's and early 80's...the movie never would have lasted.
   
   This LP is AMAZING and it was so refreshing to hear it again and remember the good old days when people could have fun and not make everthing as raunchy as they could....like they do at the shows now.
   
   THIS IS CLASSIC ROCKY HORROR!



5. I have been to Rocky Horror 175 times, have played Frank, etc. So now that you think I'm a total freak....

   This is the the most embarrassing audience participation I have ever heard. The lines are totally outdated, and just not very funny or creative. There are huge gaps where the audience doesn't even say anything at all. Maybe this was fun in 1983, but 21 years later I think a new album needs to be made. Actually there is audience participation on the DVD, so I would say buy the DVD instead of this CD. But maybe the CD is good for the car.

   This album's only merit used to be finally being able to listen to the entire movie at home (since the regular music soundtrack album is edited). But since the movie was released on VHS (and now DVD), I'm not sure what point this participation album has anymore.

   People are going to listen to this and think the whole thing is dumb. Lines like "Try Disneyland!" and people actually thinking it's funny just makes the listener want to cringe. There's also no "energy": the crowd sounds bored and possibly scripted. No one sounds like they're having any fun at all.
   
   No offense to Sal or anyone, but I just can't stand it...though it was probably really great in 1983. I bet a lot of the people on the recording even cringe when they hear some of the old jokes today.
   
   Buy the DVD instead.

5 comments about Kiri Sings Porter; Dame Kiri TeKanawa.

1. I am delighted to counter the carping, grouchy reviews that this crossover CD from Kiri Te Kanawa has received here. I am not a die-hard fan of hers in pop standards. Her early venture into Gerhswin didn't swing, and her Eliza Doolittle in a studio-bound My Fair Lady was stiff and reserved. But this Cole Porter anthology shows considerable growth in achieving her own personal version of Broadway style. Kiri is very easy-going and phrases quite naturally. She is in sympathy with Porter's sophistication, and her impeccable intonation certainly helps when it comes to the composer's tricky chromatic melodies.
   
   I can't see why anyone would get anythng but the purest pleasure from this, the best of Kiri's crossover efforts along with her Jerome Kern album (it succeeds because of Kern's indebtedness to operetta).



2. Kiri should never attempt to sing popular American music, she doesn't have the voice, talent, or swing to do so. Sorry kiri, thanks, but NO thanks...



3. In respected jazz critic Will Friedwald's book, he's very critical of Kiri's lousy recordings of standards(anyone can hire Nelson riddle and try to sound legit). She doesn't pull it off. Pass on this please. This should have never been released.



4. This is a nice collection of Porter by a wonderful singer. Kiri may not give the greatest interpretation of American music (try Dawn Upshaw), but it is still a delightful collection. The arrangements are interesting and you have to apprectiate the big-band sound. Over-all, a fine collection.



5. What a pleasure it is to hear Kiri sing these EVERGREENS. This could possibly be her finest cd. On this particular cd Kiri really belts out the songs. This is unusual for her, because her style is more laid back than what's performed here. On this cd I think she would be considered a very polished crooner(possibly a supped up Barbra Striesand)

   I thought Peter Matz did a great job with his arrangements. The orchestra sounded right on target for most songs. The main concern I had for this cd was the song selection. I thought Kiri could have added a few more big gems from C.P.'s repertoire.

   All I can say is buy this cd. It will please!

5 comments about Live Concert at the Forum.

1. This was my first Barbra album, purchased November 12, 1973. I was a freshman in high school and extremely unhappy as I had skipped one year of school (which they LOVED to do in the 60's for some reason) and was socially withdrawn as a result of leaving all my friends behind. Then I discovered Barbra and strangely I never felt that alone ever again. Something about the power of that voice and the force of her personality just hit home with me and began a love affair that has continued without letup until this day. Oh, the thrill of those gatefold albums with all the photos and liner notes, and the accompanying poster which adorned my wall for many years. And the singing!!! Oddly, I mistakenly put on Side Two first instead of Side One and so began with "Didn't We" and "My Man", and that voice just melted me on the spot. The power of Barbra is, to me, often undefinable to others; I've come to believe either people get it or they don't, there's not really an in-between. She's not just a "singer" or an "actress", she's an entire way of life--an inspiration, a comfort, an ongoing pleasure to discover year after year. I'm not even ashamed to admit that I often will re-purchase several copies of my favorite Barbra CDs every year just for the thrill of putting in a fresh one, as if it were a new album! Silly maybe, but it's still fun to get a new Barbra CD in the mail, whether you already own it or not!! This album was a perfect intro. "Starting Here, Starting Now" still soars, as does "On A Clear Day", the funny monologue still tickles, and the electric version of "Stoney End" is quite different from the original. Then the miraculously beautiful segue of "Sing" into "Happy Days.." and my favorite version to date of "People" all make for an unforgettable experience. Even if you're not a fan of live albums, buy this. You won't regret it.



2. This is an excellent live album. Barbra Streisand was performing to raise money for whoever the democrat running for president was at the time (sorry, it was before my time). But unlike later live albums, Barbra seems really relaxed (though this is when her notorious stage fright began) and is not shoving her political beliefs down our throats. Here, she just concentrates on making this a good event for all.
   
   All of the songs sung are great, especially the rarely-performed-live "Stoney End," which she even lets the audience choose for her to sing. This was a different time in Barbra' career, so the one most of us are used to is not present on here. She still sings her heart out in "People," "Don't Rain on My Parade," and "Happy Days are Here Again," but the album is more about her performing songs that have not become standards in the same way. "Sweet Inspiration/Where You Lead," for instance, is not performed ever by her in concert, nor is the previously mentioned "Stoney End" (even though fans love it), or "Sing," which sounds beautiful on here.
   
   In short, every fan will want this who have wanted to hear her sing more contemporary songs in concert. If you are new to her music, this is not a good place to start, but if you are already familiar with her, this is the place to go.



3. This is a must-have album. One of my very favorites, and maybe my favorite Barbra album.



4. This is the album that turned me onto Barbra Streisand. Not a fan of the 'Way We Were's (when IS love soft as an easy chair?) or those overly theatric theatre songs that peppered her later career. And people who need people might be the luckiest people in the world, but honestly...
   
   Then something like this arrives. Live, funky and fantastic, this is Barbra as I never knew her. Barbra's work from the 60s and 70 is where it is at. Stoney End, Didn't We, Starting Here, Starting Now, and especially Sweet Inspiration/Where You Lead, these songs are knockouts. She is funny, powerful and yes, sexy. She mostly stuffs up the monologue with nerves but she even manages to pull that together.
   
   I have since collected all her albums friom this period, and there is much joy to be discovered.
   
   Question Barbra, why do you never sing this stuff in any of your concerts of the last three decades?? Yet we get those dang people who need people every single time. I much prefer you going down to Stoney End than selling those second had roses..
   
   This is the kind of Barbra Streisand you NEED in your life! Buy it and enjoy for years to come.



5. Barbra is EXCELLENT! lISTEN TO HER MANY TIMES.
   
   GOD really must have loved her to give such a beautiful voice.

4 comments about Hello, Dolly! (1967 Broadway Cast).

1. I got this from a company that doesn't have the original masters, but copy them with permission from the record companies. What I got looks good and would probably sound good IF there weren't horrible pops every few minutes. Oh, well. Lesson learned. (BTW, the African American cast of Hello, Dolly with Pearl Bailey is wonderful. But look for an original albeit out-of-print edition.)



2. "What is it about Dolly, the meddlesome widow of Ephram Levi that has continued to attract leading ladies of a certain age? Unless you are a Dolly addict, you might wonder what makes the character such a perfect fit for so many different personalities. [Carol] Channing, who played the role on Broadway from January 16, 1964 until August 8, 1966, and [Pearl] Bailey, who captivated a whole new audience when she played it from November 12, 1967 to mid December 1969, were hardly similar types. During Bailey's run the extraordinarily beautiful and petite Thelma Carpenter played Dolly at Wednesday matinees.
   
   "Dolly was also a refreshing and revitalizing showcase it proved to be for fabled and still able film stars and dancers and comediennes. The Broadway run featured in succession: As of August 9, 1966, Fred Astaire's best dancing partner Ginger Rodgers appeared. She was followed by big band singer/big mouth comedienne of radio, stage and screen Martha Raye from February 27, 1967. 20th Century Fox musical film star Betty Grable, known for her "million dollar legs"" may or may not have tried to show them off from June 12th, 1967, until she was replaced by hilarious TV/ nightclub standup comedienne Phyllis Diller on December 26, 1969.
   
   "After Diller it was time for the legendary Ethel Merman to belt out Herman's tunes, including two he wrote especially for her. Actually, Merman was Herman's first choice to play Dolly. Her gig began on March 28, 1970 and she harnessed the miserly Horace Vandergelder for the last time on December 27, 1970. After Bailey returned with the first revival on November 6, 1975 for approximately seven weeks, Channing made a successful return in the role on March 5, 1978. She returned again, presumably for the last time, and ate those dumplings from October 19, 1995 to January 28, 1996." -- Simon Saltzman,[...]
   
   Because Ms. Channing never missed a performance, no one ever got the chance to see her understudy, Jo Anne Worley. But other Dollys include Barbra Streisand in the 1969 film version, Betsy Palmer and Tovah Feldshuh (Paper Mill Playhouse), Mary Martin in the London production, Bibi Osterwald (Bailey's replacement for a week in November 1969), Lainie Kazan in Atlantic City, Dorothy Lamour in the national road company, Molly Picon at the North Shore Music Theatre, and Michelle Lee and Eve Arden in separate road tours.
   
   I'm not going to tell you that Ms. Bailey is the best Dolly on records, for it's impossible to hear anyone in the part and prevent my subconscious from immediately referencing Carol Channing. I sat third row center in Minneapolis during her 1995 farewell tour of HELLO, DOLLY! And she was spectacular, even at 70-plus years.
   
   However, overall this IS the best DOLLY on records. Philip J. Lang revamped his orchestrations and wrote a brand new overture for this recording of the 1975, all-Black revival. Jack Crowder's gorgeous baritone gives us a Cornelius far different from Charles Nelson Reilly's interpretation, and Emily Yancy's sweet soprano is softer and less forceful than Eileen Brennan's, which is fine with me. But back to Ms. Bailey. Michael Portantiere writes ("TheaterMania Guide") "The performance of the title song is the best ever recorded: Bailey and the boys have the time of their lives as saxophones wail, trumpets blare, a banjo strums, and the xylophone player goes nuts. A real pistol as Dolly, Bailey is very funny, but just as strong when delivering a serious song like 'Before the Parade Passes By.'" My only carp is with the slightly ragged singing by the chorus.
   
   The recorded sound is swell, and thanks to ArkivMusic, you can now own this marvelous recording, since it's available as an ArkivCD, part of their CD-on-Demand service. You can order it either from amazon.com or directly from ArkivMusic. Unfortunately, this one does not come with liner notes.
   
   It's a must have!



3. The classic Jerry Herman score has never been done better than it is here. Pearl Bailey is superb, as is Cab Calloway. It outshines the original Carol Channing version. The woefully miscast movie version (with Streisand reprising her Funny Girl role under the guise of Dolly Levi)isn't even in the same league. In fact, it isn't in the league under this one or the one under that one.

   If you like musicals, you'll probably like the orginal version, but this one is a treasure not to be missed.




4. I've got several cast versions of "Hello, Dolly!" -- including the Streisand movie soundtrack -- but this is the one that I always seem to come back to. The whole album is well-sung and well-orchestrated, but the ultimate reason to listen to it over and over is Bailey's incredible performance. There's a genuinely impish quality to her rendition of "I Put My Hand In," but below that you hear the strength of a real survivor. She's all personality in the show's title number, and this really comes through as she kids with the waiters. Maybe the highpoint on the album, though, is the version of "So Long, Dearie" near the end of the album -- you'll never forget the way she delivers the line about Horace's cash register.

   If you're a fan of musical theatre, this unforgettable performance is a must-have for your collection. Buy it as a document of one of the last performances of a truly great lady. Buy it to celebrate Black History Month. Just buy it!

5 comments about Sketches of Broadway.

1. This CD is boring. Yes, Janis is great, but this does not showcase her talent as the songs are lackluster and just plain boring. Buy Manhattan Transfer CDs instead.



2. One of my favorite broadway-jazz cds is that of Betty Buckley's Chidren will Listen. B. Buckley took a spin on some of the best broadway songs and transformed them to individual jazz story songs. However, I think many people were disappointed with that, not because the arrangement or the singer is bad, but because they did not expect Betty Buckley to perform as a cool jazz singer (which is actually wrong to expect so since her first love is really jazz and the american standards).
   
   However, definitely, broadway affecionados will definitely like the jazzy take of Janis Siegel to the broadway songs. She will definitely be "forgiven" for doing so since she is a jazz singery anyhow.
   
   I consider this CD good since most of the songs are totally unpredictable. I for one would never expect a jazz take on Sondheim's "The Story of Lucy and Jessie" (which is my FAVORITE track on this album). Yet, the singer was able to deliver and show the intent of the song (complexity of people). The arrangement of that song made it possible for listeners (even for those not familiar with Broadway musicals) to FOCUS on the lyrics and the story.
   
   Another favorite of mine is Its a Woman's Prerogative. Such empowering and sexy song. The delivery and the arrangement of the song are apt.
   
   Downside, there is a boring track that I would skip anytime: I have dreamed. The bossanova take is so obvious and predictable. It is like the arrangers got tired and lazy on thinking on how to approach the song. "I have dreamed" is like a karaoke arrangement (which is not a novelty in the Philippines, but perhaps in some countries is a novel thing). the take is simply boring.
   
   Still, with one boring track, the CD is still good. I am glad to have purchased this CD.



3. This is a beautiful collection of songs...truly a joy to listen to! As both a fan of Broadway tunes and Janis...I applaud and admire her version of these songs. I recently (last night in fact!) saw Janis perform live in Kalamazoo, MI and immediately bought her CD as a result. I loved "Sorry-Grateful," "My Best Beau" and "Make Someone Happy" especially though...her version of "Surrey With the Fringe on Top" was also really enjoyable...fun to see what a artist can do with a "standard" to make a song you thought you knew that much better! Oklahoma (the musical) will never be the same to me... Lots of feeling in this music and don't think you can go wrong!



4. Unlike the annoying scat and un-melodic tones of The Manhattan Transfer of recent vintage, Janis has put together another solid album of unusual stylings that are still quite musical. She does the same on this album for lesser-known Broadway songs as she did on her previous one for Saturday night lounge music and the Hammond organ. Great arrangements, so that even familiar songs sound new. And, oh, that voice!



5. This is the best album I've heard in a long time. Great singer with flawless pitch and gorgeous tone, great song selection with original and individual arrangements -- every cut is a winner. I can't imagine any fan of Broadway or jazz singers will be disappointed.

No comments about At the Crescendo 1954 and 1957.