2 comments about Swingtime Canteen: The Star-Spangled Musical Hit! (1997 Original Cast Members).

1. I saw this show at a local theatre last night and WOW of let me see how to describ it astonishing, astounding, fabulous, fantastic, fantastical, incredible, marvelous, miraculous, phenomenal, prodigious, stupendous, unbelievable, wonderful, wondrous the music in it was beyond beautiful. the voices are great this is a defiinate must for any avid broadway collector



2. For anyone who loves the big band sounds of the 1940's, Swingtime Canteen is a great listen. A collection of music featured in the stage production, many well known favorites as well as some lesser known songs are included in this soundtrack. The music is uplifting and fun.

No comments about Jose Carreras Sings Andrew Lloyd Webber.

1 comments about Rosemary Clooney - The Concord Jazz Heritage Series.

1. Concord Records is committed to upholding the standards of excellence their founder Carl E. Jefferson set and his legacy of great music - to this we dedicate this extraordinary series.

   Celebrating their 25th Anniversary, Concord serves up highlights from their stable of memorable Jazz artists - giving the musicians and singers freedom to express themselves while documenting timeless performances. Standing smack-dab in the forefront is our "girl singer" - Rosemary Clooney.

   Rosie hooked up with Concord in 1977 - teaming up with with tenor saxophonist Scott Hamilton on "I CRIED FOR YOU", "SOPHISTICATED LADY", "LIKE SOMEONE IN LOVE", "I'LL BE SEEING YOU", "MY ROMANCE" and "FASCINATING RHYTHM" with superb interpretation of these classic standards.

   Concord and Clooney provide uplifting lyrics blending well with tender ballads, and change of pace including the swinging upbeat-tempo-tunes by some of the great composers along the way...our "girl singer" sings them the way were meant to be sung - FROM THE HEART!

   Total Time: 60:25 on 16 Tracks...Concord Jazz CCD-4812...(1997)

5 comments about Carousel (1987 Studio Cast).

1. This 1987 studio cast recording of CAROUSEL may not seem to be an essential purchase, given the fact that many superior recordings are available for this score (among them the 1945 OBC, the film soundtrack and the 1993 London revival), nevertheless the cast assembled for this version is superb and the complete score, sans the ballet, is here.
   
   Barbara Cook and Samuel Ramey headline the recording as Julie Jordan and Billy Bigelow. Ramey is an obvious fit for Billy, and as such sings the heck out of "Soliloquy" and "The Highest Judge of All". Barbara Cook is a lovely - albeit a trifle matronly - Julie (she had previously starred on stage as Julie in 1957). While she hardly comes across as the young and uncorrupted heroine of CAROUSEL, her voice is amazing and she completely devastates with her rendition of "What's the Use of Wond'rin". Most importantly, this recording includes the complete Bench Scene that leads straight into "If I Loved You".
   
   Sarah Brightman, still riding high on her success in "Phantom of the Opera", is a vibrant and appealing Carrie, ideally partnered by David Rendall as Mr Snow. Veteran opera star Maureen Forrester is a great presence as Nettie and "You'll Never Walk Alone" is delivered handsomely.
   
   As you would expect from musical director Paul Gemignani, and the Royal Philharmonic Orchestra, the quality of the recording is exceptional. Richard Rodgers would be proud.



2. I loved the blend of Barbara Cook and Samuel Ramey, and in my opinion, the version of "If I Loved You" is far and away the best version of this song that I have heard, especially the magnificent voice of Ramey, and was the main reason for trying to buy this CD for a number of years. It was interesting to listen to the differences between this and the movie soundtrack, even the extended CD version which I recently purchased to replace my worn out LP. It was also interesting to hear Sarah Brightman at what must hve been close to the start of her career. To my mind, the missing of the ballet is a plus, since a ballet should be seen as well as heard to be appreciated. All in all I have no quarms about recomending this CD to anyone whos loves musicals.



3. Don't believe my high rating for how fun it is to listen to. It only got it because Sarah Brightman's magical voice is in it. The sound quality is awful, and the stars are totally blah. Of course, the songs themselves rock! Just see the movie, with the true geniuses Shirley Jones and Gordon MacRae.



4. This ambitious recording is a success in many respects. At last, EVERY song is included, is ultra-complete. The "If I Loved You" runs nearly 13 full minutes, the longest version ever, and it is a revelation hearing it as such. Nothing is left out: what took so long to do it this way? Sonically, the recording is superb.

   There are moments no other recording can boast as this one does. The "June Is Bustin' Out all Over" is just glorious: the choral and solo singing just bursts with crackling exuberance and effervescent joy: it is by far the best and most fully realized account I've ever heard anywhere. It must be noted that the choral work is simply outstanding - after all, it is the Ambrosian Singers. The final refrain of "You'll Never Walk Alone" achieves a true majestic splendor, and the resulting emotional pull is fantastic.
   Paul Gemignani presents the most orchestrally lush account of the score, but I don't care for some of the noisy re-orchestration - too overloaded at some points.

   Barbara Cook sounds amazingly fresh, even youthful in a way, in 1987, but still, she is a shadow of her former, wonderful self - and that is not a welcome prospect. Her voice has lost its tonal center, and its pristine quality is slightly compromised by the passage of time. "If I Loved You", quietly, tenderly sung, holds great promise, but the higher regions causes Cook's voice to spread out and harden. The same holds true for "What's the Use of Wondrin", also otherwise sung with delicate poignancy. I wish ardently that Cook had been captured years ago on record (or was she??) However, her sagacious musicianship pulls her through, and I still prefer her to many of the other recorded Julies. (BTW the women's choral contribution in "What's the Use of Wondrin" is substituted by an orchestral bridge)

   Samuel Ramey is by far, the richest voice for Billy on any recording. There are some marvelous compensations, notably an "If I Loved You" that is slowly drawn, and filled out expansively like no other - it is really quite gorgeous. On the other hand, the question is whether a bass-baritone is right for Billy Bigelow. Perhaps, for some, they like that vibrant richness, which definitely conveys an unmistakably older man, but I'm not convinced. Raitt's lean, firm tone of 1945 and MacRae still sound the most correct to me. Ramey's "Soliloquy" is again full-voiced - but it is also too stolid, not light-hearted or nimble enough, and definitely lacking a smile in the tone and characterization. Plus, the higher parts of the score are a real stretch at times. The reprise of "If I Loved You," so rapturously sung by MacRae, is not comfortable for Ramey at all.

   Surprise - Sarah Brightman may actually be the best Carrie on record. No other Carrie is so precise in musical values, with the manner confidently deployed, the characterization snappy, alert and fresh. Her tone is suitably tangy, bright and open. For once she is entirely within her realm as a character actress instead of the leading lady she feinted to be. Also, most remarkably, British Brightman impersonates a perfect American accent. Brightman really boosts the energy level throughout the recording: listen to her sassy, lightning-quick contribution at the beginning of "June," where she is bitingly brisk and edgy. This is a Carrie with spunk and personality - no twit, she. I can't tell if David Rendall is exaggerating his vibrato to characterize his Enoch Snow; it certainly works in making him a little stuffy, but it is a little annoying too. It mars the duet with Carrie, but his solo "Geraniums" number is properly mournful.

   Maureen Forrester, one of my favorite singers and a truly great artist, rises to the occasion in "June Is Bustin' Out All Over," yet in "You'll Never Walk Alone", despite the rich tone and sympathetic phrasing, the voice is not under complete control.




5. Coming in the wake of a trend to re-record Broadway shows with operatic stars, this was a half and half venture. Samuel Ramey from opera and Barbara Cook from a Broadway career and cabaret. Gemignani as conductor doesn't seem to have a grip on the material. Some of the conducting and choral work are slow and/or sluggish. The CAROUSEL WALTZ wheezes and jerks in fits and starts - the GERANIUMS/STONECUTTERS number is snail-paced with many embarrassing gaps of silent - no pace at all. The casting is not good - Ms. Cook is too old for the role and seems to approach the material as if it were a first rehearsal. There is no attempt to "act" Julie - she simply reads through her lines and vocal performances with no characterization. Mr. Ramey is far to self-assured in his bass/baritone to convince as Billy. The latter was a braggart but far from self-assured. Mr. Ramey has no vulnerability in the role. Also like most opera stars he can't read a dialogue line to save his life. Why is it these masters at the vocal line have no idea how to accent a normal line of stage dialogue? Maureen Forester huffs and puffs with shortness of breath, trying to complete her lines and is a poor Nettie. Only Sarah Brightman shines as Carrie - she is vivacious and full of life.

   The good thing about this recording was that at 69:04 minutes (even on LP) it was (with the exception of the ballet) the most complete recording ever made at its release. We have the entire IF I LOVED YOU scene, Carrie's dismissal of the men at the beginning of JUNE, including that sprightly musical bridge repeated in the BALLET, the MR. SNOW reprise, Carrie's own intro line to her chorus of WHEN THE CHILDREN ARE ASLEEP, GERANIUMS IN THE WINDER and the end dialogue in the finale with Cook's voice entering the chorus after she hears Billy's words.

   So although this is flawed it did represent an advance over other recordings simply in terms of the amount of music included. Now that the nineties London and Broadway revival albums have also provided all of this material, the Cook-Ramey collection moves to a lower place on the list.

   Of the six recordings available on CD this is my preference of quality in descending order, number one being the best:

   1. Film Soundtrack 2. Nineties London revival 3. Original Cast Album 4. Cook/Ramey 5. Nineties Broadway revival 6. Lincoln Center revival

2 comments about Unsung Musicals - The Ultimate Collection.

1. Songs from 1987's "Smile" make this well worth the price. The previously unreleased material from the late, great Howard Ashman deserves to have it's moment in the spotlight.
   
   Also, there's Judy Kuhn's beautiful performance on "Starfish", Christine Baranski's vampy turn on "Sherry".
   
   Finally, there's" New Words" from "One, Two, Three, Four, Five". This show has been restaged, by small theatre groups, under the title "History Loves Company". "New Words" is by far the best number of this show and Liz Callaway's voice fills with love as she sings this lullaby.
   
   For a consummate musical theatre fan who's heard it all, this disc is a refreshing look at what has been lost over the years.



2. Some of these songs desrve to be unsung. But then you get a showstopper like Sherry and you wonder how could this show have flopped? That number alone makes this cd worth purchasing.I also enjoyed Marvin Hamlisch's toe tapping title song - Smile.There are also a few other lovely melodies which makes this cd a nice addition to a Broadway collection.

5 comments about Fanny (1954 Original Broadway Cast).

1. In surfing a few websites, I have discovered that 2008 marks the centennial of the birth of Harold Rome, the man who worte the score for Fanny, Destry Rides Again, Wish You Were Here, and I Can Get It For You Wholesale.
   
   Lest you forget, the last-mentioned musical was an early effort for someone named Barbra Streisand. The rest is history.



2. I was actually raised on this music as my mom was pregnant with me when my parents saw "Fanny" on Broadway. I didn't know this CD was available until I found it after I thought was an impossible Christmas gift search. My sister screamed when she opened it, then the whole (large)family screamed when they saw it. When the in-laws asked "What?", all of us broke into "The Thought of You" at the top of our lungs. The same sister used "Love Is A Very Light Thing" on a video for her son and I just sang "Welcome Home" for my mom's funeral.
   
   It saddens me that I most likely won't ever see this show on-stage but I am so grateful that I have this beautiful music to listen to. Also, I have the "Fanny" video which brings across the same passion and at least Harold Rome's beautiful music is in the soundtrack.
   
   For "Fanny" lovers, Marcel Pagnol's trilogy is a treat to watch, too.



3. Thanks for finding me a very hard to find recording.
   No on else could do it!
   I'll be back.



4. Another reviewer of "Fanny" was grateful that Harold Rome had written the lyrics for this show rather than Oscar Hammerstein II because he apparently thinks that the latter only writes sugary lyrics like some songs in "The Sound of Music". Is this gentleman aware that Hammerstein is the same guy who years before this musical wrote "Niggers all work on the Mississippi" for "Show Boat", daring audiences to come to grips with discrimination in America? I, for one, would have loved to seen or heard what Hammerstein would have done with the story, but, that said, I do think that Harold Rome composed some beautiful songs for "Fanny", especially the title song, and the entire work can be performed for audiences of all ages which is more than can be said for romance stories of this day and age. If you collect musicals, "Fanny" is a must, especially because of Ezio Pinza in the cast. Congratulations to Flare records and the British for paying tribute to our American theatre by issuing this gem.



5. Been searching for this title for years. Saw the film, non musical, except for the title track, this was the reason for buying the CD, fantastic. I hope the DVD of the film will be released someday as this is a beautiful story.
   Thanks Amazon for the music

5 comments about Jamaica/ Porgy and Bess.

1. I used to play the record of Harry and Lena singing Porgy & Bess when I was a little kid and spent summers in the mountains with my aunts and cousins, so this was a trip back in time. I loved it then and I loved it again. My husband (a musician) who loves Lena Horne, also got into her version of Summertime and a few other songs. I really love the duet I Love You Porgy and Bess, You Is my Woman Now. Thanks!



2. This includes the classic Lena Horne/Harry Belafonte orgy and Bess. My mom had a record of it years ago, and was very excited to have the CD. It's beautiful, exactly what we expected. The other CD, Jamaica, we had never heard before, but it's lovely.



3. The welcome CD reissue of the famous album of highlights from PORGY AND BESS by Lena Horne and Harry Belafonte will make collectors happy. While not a "theatrical" or cast recording, it offers some exciting performances that have been long out-of-print.

   JAMAICA, on the other hand, is a true original cast recording. The 1957 musical was originally written for Belafonte, but when he left the project Ricardo Montalban took on the role and the show was re-written to showcase Lena Horne.

   RCA Victor's original cast recording has had a curious history. It was made just as the labels were transitioning from mono to stereo recording. At that time it was not possible to fit as much material on a stereo 12-inch LP as on its mono counterpart. RCA Victor issued JAMAICA in mono as LOC 1036 containing all the show's songs but leaving out the Overture and editing out the introductions to "Savannah's Wedding Day" and "What Good Does it Do?" A few months late a Living Stereo release came out as LSO 1036 and including the Overture but dropping 4 songs ("Pity the Sunset", "What Good Does it Do?", "For Every Fish" and "Savannah (Finale)") These issues were deleted in 1961. In 1965 RCA Victor re-released JAMAICA in mono and stereo as LOC/LSO 1103. Now, LOC 1103 was a direct reissue of LOC 1036. BUT...are you following all this? ... LSO 1103 had all the songs, includng the extended versions of "Savannah's Wedding Day" and "What Good Does it Do?" but like its mono counterpart, left off the Overture. The 1995 RCA Victor CD release had the complete song program and the Overture. That CD, sadly is now in cut-out limbo. THIS edition (paired with PORGY AND BESS) reissues the program as heard on the 1965 stereo LP edition (LSO 1103) and is missing the Overture.

   With or without the Overture, the score of JAMAICA is quite enjoyable, even more so on disc where you don't have to deal with the show's book! This is one case where the songs work better out of context. Mostly, the numbers offer a chance for Lena to take the spotlight and belt out the great Harold Arlen numbers: "Pretty to Walk With", "Push De Button", "Cocoanut Sweet", "Napoleon" and especially "Ain't it de Truth." The last song was originally written for Lena to sing in the film version of CABIN IN THE SKY. It was cut from the final release prints of the film (Censors objected to the number being staged so that she sang it in a bubble bath!) so Arlen recycled it into JAMAICA. THAT'S the kind of patchwork show JAMAICA was and although it was a minor hit (557 performances) it will never be revived and you don't hear fans of the score clamouring for a revival. It was all about Lena Horne.




4. I've owned this Porgy & Bess record for many years and purchased the cd as soon as it came out. Harry's and Lena's voices on "Bess, You is My Woman Now" just sends chills up and down my spine. Their voices together are fabulous. I love to hear Lena sing "Summertime". This cd is 36 minutes 52 seconds long. Four songs are song by Lena, and four by Harry. The remainder are duets.

   The second CD, Jamaica, was new to me. The CD length is 51:49. Six songs are sung by Lena, three songs are sung by Ricardo Montelban, 3 songs are duets with both Lena and Ricardo. The remainder of the songs are sung by Adelaide Hall, Josephine Premice, Ossie Davis and Augustine Rios. Some of these songs are duets. Lena, as usual, is wonderful. I particularly enjoyed "For Every Fish", sung by Adelaide Hall.

   I thoroughly enjoyed both of these cd's. At listening volumes, the cd quality is very acceptable. If I turned up the volume a little louder than normal, I could hear a very tiny buzz. Still, I highly recommend these CDs to any fan of Lena Horne, Porgy & Bess, Harry Belafonte, show tunes...




5. This great double-CD from the Collectables label includes two great cast albums: the original 1958 Broadway cast of JAMAICA and the 1959 studio cast of PORGY AND BESS, both starring the gorgeous Lena Horne.

   In JAMAICA, one of the lovelier Broadway shows of the late 50s, Lena Horne stars as Savannah, and sings a gorgeous score written especially for her by Harold Arlen and E.Y. Harburg. The cast also includes Ricardo Montalban, Adelaide Hall, Josephine Premice and Ossie Davis.

   I have absolutely fallen in love with this score, which features many beguiling numbers like "Cocoanut Sweet", "Pretty to Walk With", "Take it Slow, Joe", "Ain't it the Truth" (originally written for CABIN IN THE SKY), "Napoleon" and "Pity the Sunset".

   PORGY AND BESS pairs Lena Horne with Harry Belafonte under the musical direction of Horne's husband Lennie Hayton. Horne is well-suited to the colorful score, and sings superb treatments of "I Wants to Stay Here" and "My Man's Gone Now". Harry Belafonte is wonderful singing "Oh, I Got Plenty of Nothin'" and "Bess, You is My Woman".

   2 fabulous, long out-of-print cast albums, back and better than ever! Highly-recommended.

No comments about The Decca Years 1938-1946.

5 comments about March Of The Falsettos (1981 Original Off-Broadway Cast) / Falsettoland (1990 Off-Off-Broadway Cast).

1. There is a lot of music in this CD. So money well spent. I saw this in Melbourne at Chapel off Chapel and it became my favourite show. The first half is a bit more funny and then the second half is much more emotionally deep.



2. Una combinación letal para los conservadores y puritanos. Una oportunidad de oro para William Finn de ejercer su diestro impulso creativo. March of the Falsettos es la 2a. entrega de la trilogía de Finn conocida como Falsettos.
   
   Este episodio (MARCH OF THE FALSETTOS) es quizá el más luminoso anecdóticamente de la serie, en él se reunen la farsa y la alta comedia para narrar la "salida del clóset" de Marvin ante su familia judía. Él lo quiere todo; el amor de Whizzer -su amante varón- y el afecto de su esposa Trina y su hijo Jason.
   
   La ternura y una jocosa demencia son parte medular de este drama, donde el amor florece en todos sus matices y derivados: Los celos, el apasionamiento, el sentimiento de pérdida, el amor filial, el amor erótico, el amor que sobrevive a los prejuicios personales o al natural egoísmo humano y de -un modo especialmente conmovedor- el amor entre padres e hijos.
   
   Y aunque el descenlace de este segundo capítulo no es tan lacrimógeno e intenso como el de Falsettoland, el corazón de los espectadores y "CDescuchas" será tocado en sus fibras ms íntimas. Una joya de los musicales contemporaneos, un discurso inteligente cuya armonía y diversidad de tonos ponen en alto relieve la genialidad de Finn. De-li-cio-so al oído.



3. A few perceptive critics sang the praises of William Finn when MARCH OF THE FALSETTOS opened in 1981. Ten years later the sequel, FALSETTOLAND came along winning more praise for teh composer (and truth be told, his musical talends seem to have developed a lot in those intervening years.) DRG recorded both shows with their off-Broadway casts, and repackaged them in this 2 CD set when the revised Broadway production, FALSETTOS opened to rave reviews in 1992.

   These Cds do not fully represent FALSETTOS. There were quite a few lyric changes in the first part (MARCH OF THE FALSETTOS) and the song "I'm Breaking Down" from IN TROUSERS was added. Still, the cast on this set is about as perfect as one could wish for, and DRG offers all the lyrics in the booklet to follow along.

   Not all the music is pretty. Some is quite hard to take at times. But it all works in telling a unique story. And the show has not been forgotten: it still gets staged by community theatre groups regularly. It's a shame some people shy away from this one feeling it is a show for "gay" audiences only. It's not. The themes (Live, love, death and other unscheduled events) are universal. You don't have to be gay or jewish to appreciate this wonderful show.




4. Ever since I recently purchased this CD, this has become my favorite musical theatre piece ever. William Finn's work is an undiscovered gem (by me, at least!) that deserves all the publicity in the world. If you are a musical theatre fan and have a very open mind, you just have to buy this CD and give it a chance. I think this will especially appeal to Sondheim fans, as they seem to write a little similarly. the melodies are BEAUTIFUL and ingeniously crafted, the lyrics seem carefully handpicked, witty, and genious, and the wacky story line is hilarious at first, and then subdues itself into a more somber touching piece in falsettoland. every actor/actress in this cast is phenomenal! alison fraser is amazing!! just get the CD! please!



5. How can I tell you how much I adore this musical? It's impossible to put into words how delightful this musical REALLY is! All the lyrics are tinted with a certain taste of raw emotion, sarcasm, wit, irony, and many devices blatantly lacking in some of the Thoroughly Mediocre productions we now have currently playing in theatres everywhere. Young musical writers should look to ingenious Mr. Finn for how to write a great musical. A friend once told me not to buy this saying... "Oh, It's really only for homosexuals." As a straight man, I can't comprehend this! It's such a movie musical... both the story of Jason and his father, and the sorrowful tale of the loss of Whizzer. This musical (two in one actually...) has everything a musical should have: a steady and believable plot, unforgettable characters, humor, pathos, catchy yet intelligent music, and heart.

5 comments about On the Boards.

1. I purchased this CD for my daughter because she likes Anthony Warlow, and I am sold! He has an amazing range of voice and of characterization. I will now make it my quest to find and purchase every Anthony Warlow CD available, and I might even share them with my daughter!!



2. I bought this CD, and all of his other solo outings after I heard him on "Jekyll and Hyde". His rendition of "This is the moment," just plainly put, "perfect".He has great breath control, exciting top notes and a steady center to his voice. With each song his vocal characterizations were tested and his ability as an gifted actor was wonderfully displayed. I can't wait to receive all of his CD's in the next few days.



3. I'm a huge Les Miz fan, but had never heard of Anthony Warlow. He does one of the smaller parts in Les Miz, but is equal to the leads. A man of broad talents, multiple voices and many styles. If you're a Les Miz fan, I guarantee you'll be an Anthony Warlow fan.



4. I'm not much of a fan of artist albums of this content, but I made this one exception after hearing Anthony Warlow on the Jekyll & Hyde Complete Work. I paid a pretty penny for this CD, but I have to say that it was quite worth it! Anthony's talent is amazing; he really has some of the best singing AND acting skills I think I've heard in ages. His accents and clarity are both flawless; you don't need the lyrics in front of you to be able to understand what he's singing. On the more operatic numbers like "Fate" he manages to make it enjoyable even for non-opera fans like myself; on the jazzy "New York" numbers like "Manhattan," he changes his style to suit the song-- it really does seem like different artists at times on the songs! His rendition of "Bui-Doi" brought tears to my eyes, and I was laughing out loud at "I Am a Pirate King" and "On the Boards." Best to hurry and track down this album if you haven't yet! It's worth it!



5. This album is an amazing follow-up to Anthony's first solo album, Centre Stage. Anthony's voice just blows me away on every track! There are times when it does not seem like it can be the same person performing the whole album! The wide range of accents on this recording is great - every song is in a different character. His incredibly moving version of "Bui-Doi" from Miss Saigon is one of the best moments. My favorite from this album is "I Am A Pirate King" which shows off both Anthony's comic abilities and his love of his art(you can tell how much fun he had with it!) This is a definite must-have for anyone!